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Domus Academy
RK Yes, of course and really in a Barthes’ sense
more than a Foucault’s sense, but you also have to
understand that Delirious New York was written in
the seventies and therefore in the seventies Italian
architecture historians dominated the moment, Tafuri
was the absolute rule […] in architectural theory and
what’s more both Tafuri and […] were also writing about
New York and the skyscraper, so in a certain way it
was a very exciting moment because you knew the
kind of […] history being written, and you felt the kind
of heavy wheels turning […] and of course Delirious
New York was a book that questioned some of those
assumptions very seriously, and particularly I think
questioned the moralism that was, the two types of
engines fueling the Tafuri project, and I would say that
from that moment on there has been very profound
confusion about whether what we do is moral or
immoral and to my enormous surprise still stimulate a
persistent debate and question if you look for instance
at the […] junk place or not. If you look in 2007 at the
Italian press, I find it totally amazing that it seems as if
those two sides are still confronting each other across
thirty years of history.
Stories on stories between architecture & narrative
GR Has anyone since asked R.K., as an architect,
to be a stage designer, to design and build stage sets?
GR WhenhewroteTheArchaeologyofKnowledge,
and especially The History of Madness, Foucault
invented a method, he went looking where no
one had looked before for documents about the
segregation and recovery of the sick and the use
of certain kinds of torture. His archaeology of
knowledge has some things in common with
DeliriousNewYork.IsDeliriousNewYorka“putting
into practice” with regard to New York City and
cities in general?
RK Never. I think I want to say something more about
writing. Simply because to me the beauty about writing
is that you don’t have to be honest in writing, and you
can never adopt different identities. For that reason,
it’s deeply ironic that the writers who actually deeply
influenced me like Roland Barthes and to a less extent
Foucault, for instance in a book like “Delirious New York”
is incredibly evident and explicit, but no one has ever
identified that kind of influence and so, as I said, in the
beginning we have to always embrace our influences,
but in some sense embracing influences also acts like
a camouflage act, making it invisible.](https://image.slidesharecdn.com/3d278ce5-d8bf-4723-95d7-b784a112e040-160309011556/85/Domus-Academy-Brochure-46-320.jpg)
Domus-Academy-Brochure
- 2. Location MILAN ITALY 100%I NT E R N S H I P P L AC E M E N T R AT E 83% P L AC E M E N T R AT E * 10 MASTER PROGRAMS 97% 50 International students Nationalities represented 250companies involvedininternships agreementprocesses * certificate by Demoskopea
- 3.
- 4. Master in FashionStyling & Visual Merchandising Master in Fashion Design Master in Luxury Brand Management Master in Fashion Management OTHER COURSES Pre-Master’s Program Master's-Level Certificates Online Certificate Programs ADMISSION PROCESS LAUREATE INTERNATIONAL UNIVERSITIES Laureate International Universities — Stories on stories between architecture & narrative An interview with Rem Koolhaas by Gianluigi Ricuperati Colophon and contacts 56 58 60 62 64 66 67 67 68 74 74 78 92 10 Reasons to enjoy Domus Academy Domus Academy means Domus Academy from 1982 to XXI century — Welcome from our creative director Learning by Design — Design as a learning method Accreditation Awards and Recognitions Industry Network Careers & Placement Metaphysical club — The best global minds for our students Milan — The center of our worlds Here comes success — Alumni stories Centered around you — Student services OUR MASTER'S PROGRAMS Course Structure Design Master in Product Design Master in Visual Brand Design Master in Interior & Living Design Master in Interaction Design Architecture Master in Urban Vision & Architectural Design Business Master in Business Design Fashion CONTENTS 8 10 14 16 18 19 20 22 24 27 28 30 32 34 36 38 40 42 44 46 48 50 52 54 6 7 Domus Academy Contents
- 5. 8 9 Domus Academy10 reasons to enjoy Domus Academy 5 GAIN HANDS-ON EXPERIENCE WITH REAL PROJECTS A whole 90% of the Domus Academy curricula is delivered through intensive hands-on projects – the best way to gain practical experience in your field and to accelerate your career. Following the “learning by designing” approach, you'll work on actual design projects with top Italian and international companies such as Maserati, Motorola, Swarovski, Versace, Bayer, P&G, Adidas, Fiat, Tommy Hilfiger, BMW Design, De Beers, Trussardi and more. 6 INTERN WITH A LEADING DESIGN COMPANY All Domus Academy Master programs feature the opportunity to intern at a prestigious design company, where you can gain valuable tools and connections. Non-EU students are also eligible to participateintheinternshipsandcanextend their permit of stay to work in Italy for up to one year upon completing their degree. 7 DEVELOP A GLOBAL PERSPECTIVE ON DESIGN 97% of our student body is composed of international students representing over 47 different nationalities and cultures. You'll collaborate with fellow designers from all over the world and learn to see design from a global perspective shaped by multicultural approaches to your craft. 8 FOLLOW IN THE FOOTSTEPS OF SUCCESSFUL ALUMNI Renowned Domus Academy alumni include Vogue Japan editor-at-large Anna Dello Russo, furniture designer Philippe Bestenheider, world-famous interior and product designer Christophe Pillet, and manyothergraduateswhohaveusedDomus Academy as a springboard to a brilliant career. Our more than 3000 alumni are working at leading international design companies such as Nokia, Whirlpool, Frog Design, LG Electronics, Gucci, Microsoft, Unilever, Samsung, Giorgio Armani,MaxMara,FordMotorCompany, and IDEO – to name a few. 9 WORK IN OUR STATE-OF-THE-ART FACILITIES Our design laboratories provide the tools you need to create great work: equipment for computer graphics, video editing, 2D and 3D modeling, sound design, printmaking, painting, and light design, tailoring, and model-making. 10 STUDY IN MILAN, THE WORLD CAPITAL OF DESIGN What could be more stimulating to your creativity and your career than studying in Milan, the world capital of design? You'll be immersed in the industry, with the chance to participate in numerous international design events. Domus Academy is an academic, cultural and professional center where Milan meets the world. 10 REASONS TO ENJOY DOMUS ACADEMY 1 EARN A GLOBALLY RECOGNIZED DEGREE Upon graduation, you'll receive a degree recognized around Europe and the world – an Academic Master Degree accredited by the Italian Ministry of Education, Universities and Research (MIUR). You'll also earn a second valuable qualification: the Domus Academy Master Diploma 2 STUDY AT AN INSTITUTION RANKED HIGHLY BY PRESTIGIOUS MAGAZINES AND OPINION LEADERS In their 2012, 2013 and 2014 Masterclass series, Frame Publishers named Domus Academyamongtheworld'stop30 graduate programs in design, architecture and fashion. Domus Magazine also listed the School as one of the top 100 European schools of architecture and design, while Bloomberg BusinessWeek named Domus Academy among the top design schools in the world (2006, 2008, and 2009). 3 LEARN FROM INDUSTRY-LEADING FACULTY AND PROFESSIONALS Our faculty boasts some of the most intriguing personalities in the world of fashion and design, like the designer and architect Patricia Urquiola and many other industry experts including Gaia Trussardi, Ennio Capasa (Costume National), industrial designer Ross Lovegrove, Jan Christoph Zoels (Experientia), Sara Maino (Vogue), Antonio Mancinelli (Marie Claire) and Martino Scabbia Guerrini (VF International). 4 DOMUS ACADEMY METAPHYSICAL CLUB: MEET THE THE MOST IMPORTANT NAMES ON THE INTERNATIONAL DESIGN, ART AND ARCHITECTURAL SCENE 14 of the most important names on the international design, art and architectural scene, adopting an innovative and exclusive multidisciplinary approach, will draw up guidelines to train the best design professionals for the future. Including: ItaloRota,AliceRawsthorn,JeffersonHack, Clemens Weisshaar.
- 6. AN ATELIER OFTHE MISTAKES Designandbusinessschoolsneverteach studentsenoughaboutlearningfromtheir mistakes.Examining,reconstructingand repairingmistakes,withdueemotional attentionandappropriaterespect,isexactly whatagoodteachershoulddo. A DESIGNED SPACE AS A LITERARY GENRE Albeit teaching the designers of the future to write will not contribute directly to the quality of their work. In a world where indirect relationships are much more significant than clear-cut relationships, their work will indirectly improve. A MULTIDISCIPLINARY CODE The contemporary world is becoming increasingly more a cross-disciplinary affair. Why not to build here, in the place where Pierre Restany, Alessandro Mendini and Gianfranco Ferré outlined their own complex journeys in the 1980s, a locus of research into the codes of a multidisciplinary approach, studying how the different disciplines can truly engage in an effective and down-to-earth dialogue? A 21ST CENTURY OBSERVATORY Inevitably, in the 21st century extreme weather events and other kind of revolutions will occur with a frequency that was previously unimaginable. There is an urgent need to work with students on landscapes, objects and clothes that are suited to coexistence in drastic conditions. A M.A.Y.A. PLACE Teaching, which focuses on students and their development, must represent an opportunity to generate advanced and accessible cultural products, observing Loewy's old "MAYA" principle: Most Advanced Yet Acceptable. THE HOME OF ITALIAN DESIGN Domus Academy is Italian design, which is why students from all around the world enroll. But what is Italian design? Among other things, Italian design is an impressive production district. Perhaps, if the school tightens and improves its connections with that district – with companies, skills and people – our answer can be simpler and more brazen. Domus Academy has an inter-disciplinary approach, as emerges from the interview that Gianluigi Ricuperati made to the global icon Architect Rem Koolhaas, about the relationship between design and literary culture. » READ IT AT PAGE 78 DOMUS ACADEMY MEANS: STORIES ON STORIES Domus Academy already offers its students an effective, specialized experience; it is indeed a school with a global reputation for excellence, and not only thanks to its extraordinary history. But since we can and must set our sights even higher, we believe that a post-graduate school should be an ambitious, complex, life-changing, multi-faceted experience. That's why Domus Academy is: A WUNDERKAMMER OF IDEAS "Cabinets of curiosities" do not just belong to memory. A thirst for knowledge and a flair for the creation of wonder is a key cultural gesture, in Italy and Europe, in fact everywhere, both in and beyond the world of design. A FULLER FOR YOUR LIFE A fuller is a feature of blades. Schools must assault the near future to have an impact later on, at a time when things will have gone the only way they could go, the time of fatalistic necessity – the time of design. A FULLER ACADEMY Increasingly, students find the information and knowledge they need online for free. Our institution offers students the opportunity to consolidate and expand this mastery of ideas and practices, facilitating face-to-face contact and experiences that are charged with far more emotion than we would care to admit. A PLACE IN WHICH NEW WAYS TO WORK ARE INVENTED In the here and now – at this point, in the aftermath of the digital revolution – we need to invent and designate new professions involved with the way we design objects, houses, infrastructures, cities, businesses, social processes. 10 11 Domus Academy Domus Academy means
- 8. as Sottsass, Ferré,Mendini, Trini Castelli, Santachiara, Starck, Hosoe, Bellini, Castiglioni, Bonetto, Magistretti and Munari. The stream of ideas brought with them was very successful in encouraging collaboration between designers operating both in well-established product design fields and the new design disciplines. Within the context of higher education, Domus Academy acquired a name as a laboratory of research and experimentation, taking its first steps onto the national scene presenting its unique approach to post-graduate studies within Fashion and Design. In only a matter of years, the Academy became acclaimed for its exclusive emphasis on its Italian roots, and thanks to its programming, developed a strong identity on the international stage. It is for these reasons that in 2009 Domus Academy became part of the Laureate International Universities, a global post- graduate network comprising more than 80 accredited campus-based and online universities in 29 countries throughout North America, Latin America, Europe, Northern Africa, Asia and the Middle East, whose concept lies in developing opportunities for practical, independent and visionary education. These are the keywords that accurately described and describe the internal mechanisms, which differentiate Domus Academy from any other school. It is the importance attributed to each ongoing project by individual students, in which complexity manifests as a practice, and jobs become the result of intuition and talent. It is the emotional and educational experiences, which students can mine from their cultural backgrounds, to exploit what they have learned; furthermore, it is the auto-didacticism of individuals, which is encouraged thanks to the specificity of our courses. At Domus Academy, students are free to exhibit both their personality and their professionalism, in a context that promotes the combination of diligence and mistakes as first steps towards design. Domus Academy encourages the expressiveness of creative enthusiasts in a multidisciplinary way. It is for those that desire to produce wonder and surprise by designing new and exciting life trajectories, boosting careers and inventing new jobs in line with current market demands. Today Domus Academy is inspired by a storyteller – because we care about our students’ life stories more than anything else, Gianluigi Ricuperati. Class of '76. Born in Turin. Curator and writer, author of 5 books, contributor to Il Sole 24 Ore and La Repubblica, he joined Domus Academy as Dean in 2013, and became its Creative Director in February 2014. Gianluigi Ricuperati, Domus Academy Creative Director DOMUS ACADEMY FROM 1982 TO XXI CENTURY Domus Academy is a living and pulsating laboratory. It is an incubator of talents and a springboard for interdisciplinary adventures. And more than anything else, a boost for creative and satisfying careers. Here, the main protagonist is the student, the one who generates ideas and makes mistakes, from which he learns and thereby invents new models, processes and objects; above all developing, through an unlimited curiosity, a one-of-a-kind future work life. The school is therefore a concrete human experience, combining the ability to invent with an accurate, rigorous and robust method. Welcome from Gianluigi Ricuperati, our Creative Director would meet and exchange, and where education and research would be closely integrated. They planned a center that would promote an open environment conducive to reflection and criticism, and that would bring together students and companies to pursue real-world projects on the most important aspects of contemporary life. During its initial years, Domus Academy invited leading designers such Since 1982, when Maria Grazia Mazzocchi, Pierre Restany, Alessandro Mendini, Valerio Castelli, Alessandro Guerriero and Andrea Branzi founded Domus Academy in Milan, the school has been synonymous with global excellence in design. From the very beginning, Domus Academy was designed to be a unique institution. The founders envisioned a school where different cultures and experiences 14 15 Domus Academy Domus Academy from 1982 to XXI century
- 9. SUPER PROFESSORS, PRACTICING DESIGNERS Centralto the success of the Domus Academy approach are our professors. They are highly skilled educators who are also highly talented designers. Many operate their own studios and companies. Many come from leading fashion houses, architecturefirmsanddesignshops. They bring a current, real-world perspective to lectures and group projects. Among our present and past collaboration we list the Professors: Andrea Branzi, Huberto & Fernando Campana, Ennio Capasa, Matali Crasset, Ildo Damiano, Alessandro Dell’Acqua, Diego Dolcini, Elio Fiorucci, Joseph Forakis, Naoto Fukasawa, Roberto Giolito, Stefano Giovannoni, Riccardo Grassi, Kostantin Grcic, Ezio Manzini, Flavio Manzoni, Francesco Morace, Setsu Ito, Mario Trimarchi, Clino Trini Castelli, Jan Christoph Zoels, and many more. Alessandro Mendini, Andrea Branzi, Alessandro Guerriero, Valerio Castelli and Maria Grazia Mazzocchi are Domus Academy founders. LEARNING BY DESIGN Domus Academy has grown into one of the leading postgraduate design schools in the world. And we’ve achieved this by following a carefully synthesized approach based on “learning by designing”. Here, we balance the theoretical with the practical. We integrate classroom study with workshop practice. We enhance hands-on training with cultural research. We bring together multidisciplinary project teams to enrich individual creative talents. In this way, Domus Academy has stayed true to its founding mission: to prepare designersforpersonalgrowthandprofessional success in an ever-changing market. THE DOMUS ACADEMY APPROACH Our programs combine lectures with group seminars and workshops and are designed to stimulate students in a number of ways. We help them develop the ability not only to solve design problems but also to identify problems for which design can offer effective solutions. Essential to our approach are the challenges offered by the professional projects that Domus Academy has developed with leading Italian and international companies. These invaluable collaborations give students vital real-world learning to develop critical thinking and problem-solving abilities as well as artistic and design skills. Design as a learning method 16 17 Domus Academy Learning by Design
- 10. AWARDS AND RECOGNITIONS Magazines and influential opinion leaders allwidelyagreetoconsiderDomusAcademy aschool of global excellence in the areas of Fashion, Design and Architecture. The Domus Academy approach has received the highest accolades from third-party authorities. In 1994, Domus Academy received the Compasso d’Oro award by the ADI, Associazione Disegno Industriale (Industrial Design Association). In 1995, the project “Agronica for Philips”, made by Domus Academy and developed by Andrea Branzi, Dante Donegani, Anthony Petrillo, Claudia Raimondo and Tselila Ben David, was shown at the Centre Pompidou in Paris, and has since become a part of the permanent collection. In 2009, Domus Academy was nominated for the third time by BusinessWeek magazine as one of the best schools of design in the world. In 2012, 2013 and 2014 Domus Academy was selected by Frame and included in the Masterclass Frame Guide to the 30 World’s Leading Graduate Design, Fashion and Architecture Schools, as well as in 2012, 2013, 2014 and 2015 the school was selected by Domus Magazine as one of Europe’s Top 100 schools of Architecture and Design. Students from Domus Academy have been awarded in international contests such as ITS, Next Generation/ Milan Fashion Week, Vogue Talents, Who is on Next, Red Dot Award, Samsung Young Design Award and Wallpaper* Design Award. Domus Academy projects have also been exhibited in the Venice Architectural Biennial and at the Centre Pompidou, Paris. AWARDS — Finalist in the ITS 2015 Accessories — Selected to be represented worldwide by Lagente — 2014 World’s Best Car Design Final Projects — Selected by the Council of Fashion Designers of America for the CFDA+ Program — Winner of the Contest Cool Hunter Italy – Pure London! — Winner of the second edition of the Audi R8 LMS Ultra Contest — Finalists for the third edition of the Prix Emile Hermès International Design Award — Winners of the Red Hot Concept Design Award 2012 ACCREDITATION Upon graduation from Domus Academy, you’ll earn a degree that’s recognized around Europe and the world – an Academic Master Degree (60 ECTS credits) accredited by the Italian Ministry of Education, Universities and Research (MIUR)* – in addition to the Domus Academy Master Diploma. Ouraccreditationgivesyoutheopportunityto gain real-world work experience during your course of study through an internship at a prestigious design company. Aftergraduation,youcan extend your visa to workinItalyforuptoone year. Anaccrediteddegree, plusthe practicalexperiencegained throughan internship,showsemployersyou have receivedatop-qualityeducation and that youbringindustry-relevantknowledge and skillstothetablewhenyou join their team. Our accreditationalsomeans thatthe relevantacademiccredits youearnat DomusAcademy canbetransferredtoother institutions ifyouchoosetoworktowards anothermaster’s ora doctoral-leveldegree. * The Academic Master Degree is validated through NABA, Nuova Accademia di Belle Arti Milano. 18 19 Domus Academy Accreditation / Awards and Recognitions
- 11. Master in Interior& Living Design final presentation with Patricia Urquiola, designer for Flos, Moroso, Alessi, B&B Italia and awarded by international magazines as Designer of the Year. Job interview simulation with Riccardo Vannetti, Lagente Chief Operating Officer INDUSTRY NETWORK Due to its proximity to the professional design world, Domus Academy enjoys an extensive network of connections and relationships with many of the most prestigious companies and studios. From this privileged position, we are able to monitor employment opportunities and prepare our students to take advantage of them. THE BEST COMPANY: INDUSTRY NETWORK, FASHION AND DESIGN BRANDS, FUTURE An opportune network of contacts and relationships with prestigious firms and companies are all offered by Domus Academy in order to facilitate internship opportunities for students. Excellent companies are also involved in workshops and work closely with students. Each step of the program is followed with great care and collaborations are fully appraised from the initial briefing to the presentation of the final work. Companies include: Working with the most prestigious companies and brands in the world Boffi B&B Italia Camera Buyer Canon Cartier Club Med Coccinelle Condé Nast Costume National Danone Electrolux Ferragamo Fiat Flos Frankie Morello Fujitsu Gufram Helena Rubinstein (L’Oréal) Leroy Merlin LG Marni Marsèll Mattel Moncler Moroso Motorola Neil Barrett Nokia Park Hyatt Milano Patrizia Pepe Perugina (Nestlé) Pininfarina Pomellato – Dodo Pommery Red Valentino Rilastil Roberto Cavalli Samsung Slowear Stone Island Swarovski Thai Silk The Coca-Cola Company Tod’s Trussardi Tucano Veneta Cucine Versace Veuve Cliquot Volkswagen Wega 3M 7 For All Mankind 10 Corso Como Adidas Alessandro Dell’Acqua Alessi Alfa Romeo Artemide Astoria Audi Ballin Barilla Bayer Bonaveri Manichini 20 21 Domus Academy Industry Network
- 12. Project revision withstudents — 100%Internshipplacementrate — 83%Placementrate (Certificate by Demoskopea) — Morethan250 companiesinvolved ininternshipsagreementprocesses Crea International De Beers Design Innovation Diego Dolcini Dsquared Elica Emilio Pucci Fiat Flos Frog Design Futurebrand Karl Lagerfeld Amsterdam La Triennale di Milano Matteo Thun & Partners Moncler Neil Barrett Pambianco Proenza Schouler NY RCS Media Group Studio Lissoni Studio Urquiola Tommy Hilfiger Amsterdam Triumph Switzerland Trussardi Valentino Versace Vivienne Westwood Whirlpool Zara CAREERS & PLACEMENT TheDomusAcademyCareerServicehelps studentsintheirtransitionfromtheacademic totheprofessionalworld.Throughorientation meetings,adviceandtrainingsessions,the serviceassistsstudentsindeterminingtheir professionalgoals,assessingtheirpersonal strengthsandartisticskills,andidentifying theirbestemploymentopportunities. EverystudentenrolledinaDomusAcademy Masterprogramisguaranteed an internship experience.Internshipsrepresentagreatway todevelopsubjectknowledge and specific skills,providingaunique tool thatfacilitates thedevelopmentofanetwork ofpersonal relationshipswithinthechosen design field, therebyallowingstudents’ confidence to buildwithinarealworkingenvironment. Non-EUstudentsmayalsotake part internshipsandcanextend their permitof staytoworkinItalyforup toone year after completionoftheirdegree. Internshipscantake twoforms: —Internshipinprofessional environments suchas amanufacturingand service company,public institution, design studio or consultant organization. —On-campusworkexperience in collaborationwith a company duringthe program. Weunderstandthatemployers assesstheskills andabilities ofcandidates byevaluating theirprevious experiences. In today’sextremely competitivejobmarket, completing internships oron-campus work experiences beforegraduationcanprovide acandidatewith a distinctadvantageover others.100% ofourstudents completeintern placements insomeofthemostimportant Italian andinternationalbrands indesign, fashion,business andarchitecture,including: Alberta Ferretti Bastard BMW Design Group Borbonese Condé Nast Continuum Costume National 22 23 Domus Academy Careers & Placement
- 13. Nowness.com and acentral figure in the formulation of the most sophisticated ways of representing fashion over the past twenty years; Gilles Clément – together with Coloco and Miguel Georgieff, a thinker who has changed our points of view on the urban landscape and the plant universe; Patricia Urquiola, extraordinary and internationally successful designer and architect, who has shaped the Domus Academy’s Master in Interior & Living Design over the past year; Joseph Grima, curator and researcher, former chief editor of Domus Magazine and who will co-direct the 2015 Chicago Architecture Biennial, 2015 City Ideas in New York, in addition to city of Matera’s program as European Capital of Culture in 2019; Leanne Shapton, illustrator and writer whose work is featured regularly in leading American newspapers, author of a selection of ‘narratives for images’ which break through conventional barriers between artistic disciplines and writing; Clemens Weisshaar, who over recent years has created some of the most technologically refined design and communication projects together with Reed Kram, working with Audi and institutions such as the Fondazione Prada; Manfredo di Robilant, who has worked closely with Rem Koolhaas to formulate the 2014 Venice Architecture Biennale, the most controversial and successful, inspiring research on ‘Fundamentals’; Benedetto Camerana, architect and president of the International Museum of the Automobile in Turin, author of projects for Ferrari and Alfa Romeo; Cristiano Seganfreddo, artistic director of the Marzotto Prize and tireless contemporary example of what it means to design in business and for corporate culture; Gianandrea Barreca, architect, founder of A12 Group and winner of the International Highrise Award 2014/2015, Su Dan, Vice Dean Tsinghua University of Shanghai and Design Director, Exhibition, Landscape, & Interior Design – China Pavillion – Milano Expo 2015; and finally, Italo Rota, visionary and highly-educated designer and architect, Scientific Director of Laureate Italian Art&Design Education author of the exhibition installation curated by Germano Celant for Expo 2015 in Milan. Metaphysical Club, illustration by Emiliano Ponzi METAPHYSICAL CLUB Through an innovative, salon-style club, Domus Academy brings together some of the most important personalities on the international design, art, and architectural scene to guide the future vision and practical activities of the school. The Domus Academy Metaphysical Club is composed of 14 experts in the fashion and design industries. Club members meet several times a year in Milan to develop the school’s educational paths and brainstorm innovations in our curricula. Inspired by the salons of 19th -century Paris and by contemporary intellectual forums like Edge.org, the Metaphysical Club represents a new model for guiding creative schools. But these stars don’t only work behind the scenes to improve our offerings – they also work directly with students. They give guest lectures, take students on studio and company visits, and lead workshops involving real company projects. They create a network of opportunities for our students, even as they enhance the school’s collaboration with some of the most prestigious institutions and companies in the world. Members of the Metaphysical Club are not masters of the past, but professionals at the height of their success. While it is rare for such individuals to engage in teaching activities, club members have welcomed our invitation as a chance to serve as a constellation of minds promoting a new educational paradigm – one centered on students’ career success. Domus Academy’s Metaphysical Club is a unique project among international schools of design, fashion, and architecture. The members of the Metaphysical Club are:Hans-Ulrich Obrist, curator and co-director at the Serpentine Gallery London and a global reference in contemporary art and culture; Alice Rawsthorn, the most prominent design critic worldwide, leader writer for the New York Times and the author of numerous books; Jefferson Hack, founder of Dazed & Confused, Another Magazine, The best global minds for our students 24 25 Domus Academy Metaphysical Club
- 14. MILANO There is nobetter place to pursue a truly superb design education than Milan, the city where the passion for design is part of the fabric of life. In Milan you will be immersed in a stimulating creative culture and thriving commercialdesignindustry.Arestlessrhythm is part of Milan, so much so that it is difficult to stay unmoved and detached from all the cultural and social activities. Talent city You will be inspired by the trend-setting work of the world’s leading designers. You will have access to Italy’s finest artisans and the production and fabrication facilities responsible for renowned Made in Italy craftsmanship. Milan is the worldwide capital for fashionanddesignwhereyoucanalwaysfind innovative and creative people, emerging label boutiques and chic concept stores. Milan’s center is full of all the most important fashion and design flagship stores, including Cappellini, Driade, Kartell or Versace, Armani and Valentino. Milan is vibrant with life. Every year, during Fashion Week and the International Furniture Fair, Milan becomes a large showroom where exhibitions, performances, parties and conferences involving lots of international guests take place all day long. Milanisa creativeenvironmentlike no other. — City of Expo 2015 — 4 Fashion weeks — The most important International Furniture Fair in the World: Salone del Mobile — New Private Museums: Fondazione Prada, Armani Silos — New skyline and neighbourhoods, with buildings designed by renowned architects, such as Cesar Pelli, Zaha Hadid, Daniel Libeskind (and the Bosco Verticale Highrise designed by Boeri Studio with our Metaphysical Club Member Gianandrea Barreca). Milan new skyline Milano Fashion Week 2013, backstage. Photo by Claudia Zalla 26 27 Domus Academy Milano
- 15. Much more crucialis the mere fact that adding “Domus Academy” to your curriculum would catch the eye of a whole multi-age, multi-lingual, multi-disciplinary community of successful professionals and leaders of the market, designers and artists, thinkers and inspirators – all over the world. This is not just about Domus Academy’s impressive heritage. It’s because here you’ll find some of the true innovators, some of the true perpetrators of what we call the “future”–peoplelikeourMetaphysical Club members, who founded history-making magazines like Dazed and Confused at 19 (Jefferson Hack), who are identified as the “most powerful person in the art world” (Hans-Ulrich Obrist), who have been designers (Patricia Urquiola). At Domus Academy we believe that alumni constitute a strong and hard-working community of ideas, and former students’ careers and stories are our most valuable asset – Are you ready to join? QUOTES “AfterDomusAcademy,Iimmediately becamefashioneditoratVogueItalia. Iwasluckyenoughtogetajobinterview withFrancaSozzani–whohadjusttakenthe positionofeditor-in-chief–andshegaveme thejobadayaftertheinterview. She(Franca)hastaughtmeeverything Iknow,especiallytonotbefearfulof anythingandjusttojumpin.” Anna Dello Russo, Vogue Japan Editor at Large and creative consultant, interviewed by Declan Eytan for Forbes “WhenIthinkbacktoDomusAcademy, Ipicturealargeboxfilledwithdreams. -Length:ayearofcreativefreedom. -Depth:awellofinsightstodipinto. -Height:ahandfullastingfriendsand partnersaroundtheglobe.” Philippe Bestenheider, Designer for Moroso, de Sede, Pallucco, Fratelli Boffi, Varaschin, Frag and Galleria Nilufar “DomusAcademytaughtmetousedesignas aninternationallanguage:Ilearnedhowto communicateandrealizemyideasthrough thepresentationofuniqueprojects,sharing allthiswithstudentsfromallovertheworld.” Sawako Furukawa, Accessories Designer at Bottega Veneta “AtthebeginningDomusAcademywasthe creationofaprivilegedplacetointerpret theworld,toinventquestions,tosearch forpartialanswers,beyondthelogicof standardization.Ilikerememberingitso.” Mario Trimarchi, Founder of FRAGILE and designer for Alessi, Artemide, Deborah Milano, Philips, Matsushita, Serafino Zani. HERE COMES SUCCESS We could easily list our prize winners in a good old namedropping session, but it would be probably useless to you – even if among them you’d find the finalist at ITS 2015 Accessories (Bojana Nikodijevic – Master in Accessories Design 2013), the finalists at IxDA Design Challenge (Julie Blitzer and Hadar Geva – Master in Interaction Design 2014), the 2014 World’s Best Car Design Final Project (Dario Manzo, Master in Car & Transportation Design 2014), the winner of Who’s NextPrêt-à-Porter/ ArtsThread(HanGulKwon– Master in Fashion Design, 2011), the winner oftheContestCool HunterItaly–PureLondon!(Rick Lee – Master in Fashion Design 2010), or the finalists for the third edition of the Prix Emile Hermès International Design Award (Sander Brouwer and Mara Ribone – Master in Product Design, 2007). Alumni Stories 28 29 Domus Academy Here comes success
- 16. NETWORK SERVICES Each Masterprogram has a dedicated directory on the Domus Academy server, containing teaching materials and a personal folder for each student. The school also provides numerous workstations loaded with the latest releases of leading applications and software programs. A helpdesk gives students expert assistance in resolving computer problems quickly. LIBRARY Domus Academy students have access to a superb library that houses 4,000 titles covering six broad subject areas including design, architecture, fashion, visual arts, business, essays and Domus Academy Edizioni. The library also includes a collection of more than 5,000 magazines, including historical publications and the latesteditionsofnationalandinternational professional journals. Domus Academy design lab Domus Academy fashion lab CENTERED AROUND YOU Domus Academy offers a wide range of services to help students optimize their educational experience and maximize their talent and potential. HOUSING SERVICE Available from the first day of enrollment, Domus Academy offers its students a free Housing Service to facilitate searching and selecting accommodation for the period of stay in Milan. Thanks to agreements between Domus Academy and several real estate agencies, private landlords, hostels, residencesandhotels,double or single rooms are available for temporary stay at special rates. Accommodation can be shared with other students. LANGUAGE SUPPORT The Language Center organizes courses at different levels to support students in their learning process and during internship experiences in Italy. The Language Center at Domus Academy has been opened to help students to improve their knowledge of the Italian language. Domus Academy is part of Laureate International Universities and therefore is also a partner with Cambridge University Press and Cambridge Language Assessment. DESIGN LAB Domus Academy Design Lab is available to students for the production of models and projects required as part of their Master program coursework. The Lab is equipped with high tech machines and tools and a wide range of materials giving students theresources they needtobring theirideas to reality. FASHION LAB Students on the Fashion Design and Accessories programs use the Fashion Lab to produce models and prototypes. Fully equipped with sewing machines, mannequins, irons, sewing tables and related tools, as well as leathers and fabrics, the Lab is where students’ designs take shape. Student Services 30 31 Domus Academy Centered around you
- 17. Our master's programs Master inProduct Design Master in Visual Brand Design Master in Interior & Living Design Master in Interaction Design Master in Urban Vision & Architectural Design Master in Business Design Master in Fashion Styling & Visual Merchandising Master in Fashion Design Master in Luxury Brand Management Master in Fashion Management Design Architecture Business Fashion 33
- 18. COURSE ects 6 WORKSHOPects 6 COURSE ects 6 WORKSHOP ects 6 COURSE ects 6 COURSE ects 6 INTERNSHIP ects 12 WORKSHOP ects 6 WORKSHOP ects 6 Core Workshop Elective Workshop Free Choice Workshop Each program* is organized in four main modules lasting eight weekseachincludingcoursesandworkshops, followed by a 8 weeks internship period and a final portfoliopresentation. Workshopsareprojectassignmentsthatgive students a working knowledge of different core subjects relevant to the specific master program. Workshop start with the presentation of the brief defined by the facultyincollaborationwithexternalprofessionalsand industrial partners.Studentswillbesupportedbylectures aiming at broadening their knowledge on the specific theme,involvingdesigners,researchers,stakeholders and representativesofthecompanies.Eachworkshop culminatesinanopenpresentation. Courses,throughacombinationoflectures,exercise and tutorials,providestudentswiththeappropriatetools and experiencesforthedevelopmentoftheirprofessional career.Theyencompassbothcoretopics,andtopics relatedtothedevelopmentofeachindividualworkingstyle. COURSE STRUCTURE * except for the Master in Urban Vision & Architectural Design 34 35 Domus Academy Course structure
- 19. DESIGN is aneed that has been identified, resolved and innovated in the form of an image: it is the reflection of society. Identification at Domus Academy is the tendency to twist the rules, in order to follow a flow of information, which returns as a functional mechanism that is contemporary – it is the promise of a discovery. 37 Our Master's Programs — DESIGN
- 20. STRUCTURE OF THEPROGRAM The program is organized in four main modules lasting eight weeks each, which include courses and workshops, followed by a 8-week internship period and a final portfolio presentation. Core Workshop — Envisioning (6 credits) — Advanced Design & Processes (6 credits) Elective Workshop (6 credits) One to be chosen from: — Product Strategy — Design of Spaces — Experience Design Free Choice Workshop (6 credits) One to be chosen from the active didactical offer. COURSE ects 6 COURSE ects 6 COURSE ects 6 COURSE ects 6 CORE WORKSHOP ects 6 CORE WORKSHOP ects 6 ELECTIVE WORKSHOP ects 6 FREE CHOICE WORKSHOP ects 6 INTERNSHIP ects 12 Hexahome, project by Ergun Ayral, Marika Arapoglou, Marc Rajha in collaboration with Alpi — Master in Product Design 2014/15 Sound Light, project by Ivana Stacia Helmi in collaboration with Lasvit — Master in Product Design 2013 Master in Students on the Master in Product Design explore and put into practice several forms of expression of product culture, exploring the operational knowledge gained, maturing a critical, independent, incisive and informed point of view. The Master in Product Design combines a prestigious and stimulating education with the contribution of specific market collaborations, helping students to rise in terms of academic training and guidance, assisting and contributing to their own learning progress. PRODUCT DESIGN We live in a post-industrial era, in which the ones who succeed are those with complex and conscious competences, who can offer solid expertise and significant talent. These are the independent designers,capableanddynamicminds,whoareable to roam across multiple disciplines. AUDIENCE The program is addressed to candidates with a curriculum in design, architecture, engineering and visual arts, or other disciplines related to the program’s field of study. OUTCOMES The Master in Product Design trains professionals capable to create and design products for different sectors of the industrial system on a local and worldwide scale Participants develop skills facilitating their introduction to design firms, architecture and design studios and research environments, or to starting a self-employed professional activity. FEEL / SKETCH / MAKE COMPANIES The Master has worked with: 3M, Alpi, Artemide, Bayer Material Science, BLM, Brix, Candy, Canon, Confindustria Ceramica, Electrolux, Elica, Fondazione Bracco, Gufram, Hager Group, Ikea, Illywords, IMRA/AISIN, Industreal, Leroy Merlin, LG, MaterialConnexion, Pirelli, Rotaliana, Samsung, Swarovski, Teuco, Toto Bagni, Veneta Cucine, Veuve Clicquot, Wega. 38 39 Domus Academy Master in Product Design
- 21. STRUCTURE OF THEPROGRAM The program is organized in four main modules lasting eight weeks each, which include courses and workshops, followed by a 8-week internship period and a final portfolio presentation. Core Workshop — Identity Design (6 credits) — Product Strategy (6 credits) Elective Workshop (6 credits) One to be chosen from: — Envisioning — Experience Design Free Choice Workshop (6 credits) One to be chosen from the active didactical offer. COURSE ects 6 COURSE ects 6 COURSE ects 6 COURSE ects 6 CORE WORKSHOP ects 6 CORE WORKSHOP ects 6 ELECTIVE WORKSHOP ects 6 FREE CHOICE WORKSHOP ects 6 INTERNSHIP ects 12 Mundo Berrocal: Putting the Pieces Together, project by Urso Chappell, Swapna Patkar, Chayut Prissawong in collaboration with Fundación Escultor Berrocal — Master in Visual Brand Design 2014/15 Boscolo Fattorie, project by Çagıl Aygen, Nour El Gamal, Jason Hysin in collaboration with OP Valle Padana — Master in Visual Brand Design 2014/15 Master in TheMaster in Visual Brand Design promotes competenceanddeepknowledge oftheproductand ofthe waystoexplainit,inordertogreettheconsumerand followthemintothe brand’sworld, toencouragethemtoshareits values,both physicallyand in the world ofsocial media. AUDIENCE The program is addressed to candidates with a curriculum in Visual and Graphic Design, Design, Communication and Marketing or other disciplines related to the program’s field of study. OUTCOMES The Master in Visual Brand Design aims to form Visual Brand Designers and dynamic Brand Managers open to visionary and versatile, direct and effective innovations. Designers who have a rich and complex approach able to guide the needs of the company in a new direction, either as freelancers or employees of medium to large companies operating in the fields of fashion, design, events, trade shows, services, digital media or in public administration. VISUAL BRAND DESIGN Branding is a complex activity. It is rooted in a research path, which leads to understanding the values of a company and culminates in the ability to use the right tone of voice, enabling the brand to talk with its public and involve it in a long-term relationship. An integrated vision, the direct combination of design, narration, graphics, identity research, is crucial when it comes to competing in terms of promotion and the reasoning behind the product. IMAGINE / SYMBOLIZE / SYNTHESIZE COMPANIES The Master has worked with: Bastard, Danone, Forevermark, Fundación Escultor Berrocal, Glamour, Mondadori, Park Hyatt, Royal Rose, Smartbox, Unieuro. 40 41 Domus Academy Master in Visual Brand Design
- 22. STRUCTURE OF THEPROGRAM The program is organized in four main modules lasting eight weeks each, which include courses and workshops, followed by a 8-week internship period and a final portfolio presentation. Core Workshop — Design of Spaces (6 credits) — Envisioning (6 credits) Elective Workshop (6 credits) One to be chosen from: — Experience Design — Identity Design — Advanced Design & Processes Free Choice Workshop (6 credits) One to be chosen from the active didactical offer. COURSE ects 6 COURSE ects 6 COURSE ects 6 COURSE ects 6 CORE WORKSHOP ects 6 CORE WORKSHOP ects 6 ELECTIVE WORKSHOP ects 6 FREE CHOICE WORKSHOP ects 6 INTERNSHIP ects 12 Workplayce, project by Avni Goel, Vivek Gupta, Yoshihiro Niida, Nasya Pranoto Gitaputri, Simran Singh Jit in collaboration with Haworth — Master in Interior & Living Design 2014/15 A Sip of Memory, project by Bahar Oztok, Laetitia A. Matta, Rumeysa Nehir Kurt, Sara Abdel Samie in collaboration with WEGA Master in Interior & Living Design 2014/15 Master in Multiple historical and contemporary incentives, analog and digital tools combined with curiosity for research, design experimentation and aesthetic fascination: this is the environment we create for our students, to make sure that it is the students themselves who are the first to overcome disciplinary boundaries, be critical and proactive, re-inventing the interior domain, and finally defining themselves and their identity as designers today. The Master, in this sense, makes each step a crucial one, through challenges that are imposed by reality. It is with this program of studies that Domus Academy wants to mold the shape of a new professional: a space-for-living designer. AUDIENCE The program is addressed to candidates with a curriculum in interior design, design, architecture, engineering, visual arts or other disciplines related to the field of study, who are interested in pursuing a course of advanced specialization and who are looking to expand and improve their skills using new technical and cultural tools in the field of interiors. OUTCOMES The Master in Interior & Living Design is directed at forming a new professional able to combine techniques and design knowledge with cultural sensitivity and strategic thinking. A new professional who is aware of the attachment and the bond that space creates in our minds; someone attentive to the processes and timing of project management. Graduates from the Master can find employment in various sectors, such as: retail, hospitality, exhibition/events, lighting, furniture, working for architectural firms, building contractors, hotels, spa and retail. INTERIOR & LIVING DESIGN The Master in Interior & Living Design focuses on the sheer urgency of triggering a multidisciplinary approach to foster the contemporary practice of the interior designer, his/her creative flair and spatial sensitivity. SHAPE / EXPERIENCE / LIVE COMPANIES The Master has worked with: Agape, Alessi, B&B Italia, Boffi, Camper, Club Med, Coin, Deborah Milano, Fiorucci, Flos, Fnac, Haworth, Kvadrat, La Triennale di Milano, Moleskine, Mondadori, Moroso, Mutina, Park Hyatt Milano, Pitti, Rossana Orlandi, Tucano, Veuve Clicquot. 42 43 Domus Academy Master in Interior & Living Design
- 23. STRUCTURE OF THEPROGRAM The program is organized in four main modules lasting eight weeks each, which include courses and workshops, followed by a 8-week internship period and a final portfolio presentation. Core Workshop — Experience Design (6 credits) — Tangible Interactions (6 credits) Elective Workshop (6 credits) One to be chosen from: — Envisioning — Identity Design — Product Strategy Free Choice Workshop (6 credits) One to be chosen from the active didactical offer. COURSE ects 6 COURSE ects 6 COURSE ects 6 COURSE ects 6 CORE WORKSHOP ects 6 CORE WORKSHOP ects 6 ELECTIVE WORKSHOP ects 6 FREE CHOICE WORKSHOP ects 6 INTERNSHIP ects 12 Roko, project by Natt Phenjati — Master in Interaction Design 2013 Master in AUDIENCE The Master is open to candidates with a background and/or professional experience in Product Design, Visual and Graphic Design, Media and Web Design, Architecture, Computer Science, Engineering, Communication Science, Psychology and Sociology. OUTCOMES The Master in Interaction Design aims to form professionals with cutting-edge skills and competencies to attain different strategic and design positions: from Interaction Designer, UX (User Experience) Designer and Creative Director, to roles of Digital Strategist or Design Manager. Graduated students will be in the position to successfully meet contemporary industry requirements, as well as to start an individual career as self-employed consultants and freelancers. INTERACTION DESIGN Digital and Communication Technology. Design sensitivity. Business orientation. The Master in Interaction Design was founded out of curiosity for the future and research. Atthecore ofthisfield liesthe creation ofa designproduct,serviceor space,thatcan interactwiththe bodyor themindthrough innovation andtechnology; itisthe addition ofdigitalelements toeveryday living; theadoption ofdigital technologyfor enrichedserviceexperiences;the transformation ofdesign visionsintomarketopportunities. TheMaster inInteraction Design runsfor achallengeandreveals itselfas thedesire tobringthe authenticityofItalian designtotheworldofInformation andCommunication. IMAGINE / DRAW / CODE COMPANIES The Master has worked with: Adobe, Canon, Cisco, Condé Nast, Fujitsu, Fundación Escultor Berrocal, Hager Group, Illywords, Iks Core Consulting, Mattel, Meet the Media Guru, Mit Mobile Experience Lab, Motorola, Nokia, Park Hyatt, RCS MediaGroup, Re-Power, Samsung, Studio Museo Achille Castiglioni. 44 45 Domus Academy Master in Interaction Design
- 24. ARCHITECTURE is an explorationinto the wonders and the shortcomings of urban conditions in the twenty-first century. It is an incitement for young people to challenge the design and to stretch ideas. 47 Our Master's Programs — ARCHITECTURE
- 25. COURSES WORKSHOP 2 WORKSHOP 4 FINALMASTER PROJECT WORKSHOP 1 WORKSHOP 3 INTERNSHIP STRUCTURE Courses — History and Cultures — Methods and Practices Workshop 1 — Strategies and Vision Workshop 2 — Architectural Link Workshop 3 — Urban and Landscape Design Workshop 4 — Architectural Design Internship Final Master Project Master in Urban Vision & Architectural Design Students Villa Chigi Saracini foundation, Project by Sofya Dolgaya, Guillermo Colina Hernandez — Master in Urban Vision & Architectural Design Cities have always been a stage for problems and new phenomena. They’ve also been, and they are, experimental laboratories to formulate and refine appropriate responses to the needs of humans. The Master in Urban Vision & Architectural Design establishes on city-observing and city-making as its foundations, from private developments to public space. This course of studies facilitates the functional transformation of ever- evolving, complex, fast, dynamic and 21st Century cities and urban space. Urban Vision is therefore that additional question that drives the formulation of answers; it is the view that shapes and perfects the opportunities seen and interpreted by each student at Domus Academy. Taking urban strategy as a starting point, this master aims to explore different architectural approaches and to provide students with the opportunity to work on building scales. URBAN VISION & ARCHITECTURAL DESIGN Master in AUDIENCE The program is addressed to candidates with a curriculum in urban planning and/ or architecture, as well as those who have a degree in economics, humanities, social sciences and communication, or other disciplines related to the program’s field of study. OUTCOMES Participants in the Master in Urban Vision & Architectural Design may embark on different careers nationally and internationally as Architects, Urban Planners, Urban Designers and Project Managers. Employment opportunities can be found in architecture or engineering studios, as well as territorial development agencies, urban planning departments, real estate or construction companies, and also, in design studios. PROGRAM / ADAPT / CHANGE COMPANIES The Master has worked with: ARUP, Bayer Material Science, CNS spa – Tecnologia per l’ambiente, Hines Italia Srl, Ing Real Estate Development ItalySrl, Legnolandia, Le FondBelval, Milano Metropoli – Development Agency, MU.VI.TA. – Museo Vivo delle Tecnologie per l’Ambiente, Peverelli – Giardini e Paesaggi d’Autore, Prelios, Pirelli RE. 48 49 Domus Academy Master in Urban Vision & Architectural Design
- 26. BUSINESS Business isa wide ranging category: everything is and revolves around business. Just like everything around us is designed to be developed exactly where it is, we could say that conducting business means concretizing the implementation of an excellent strategy and a targeted placement. 51 Our Master's Programs — BUSINESS
- 27. STRUCTURE The program isorganized in four main modules lasting eight weeks each, which include courses and workshops, followed by a 8-week internship period and a final portfolio presentation. Core Workshop — Product Strategy (6 credits) — Entrepreneurship Through Design (6 credits) Elective Workshop (6 credits) One to be chosen from: — Experience Design — Identity Design — Advanced Design & Processes Free Choice Workshop (6 credits) One to be chosen from the active didactical offer. COURSE ects 6 COURSE ects 6 COURSE ects 6 COURSE ects 6 CORE WORKSHOP ects 6 CORE WORKSHOP ects 6 ELECTIVE WORKSHOP ects 6 FREE CHOICE WORKSHOP ects 6 INTERNSHIP ects 12 SWOT, project by Master in Business Design Students Master in AUDIENCE The program is addressed to candidates with a curriculum in Economics, Humanities, Design, or disciplines related to the program’s field of study, who are interested in acquiring organizational and management skills with a multidisciplinary approach. OUTCOMES Students attending the Master in Business Design will follow educational paths that will enable them to pursue managerial careers covering specialized business roles, as well as cross roles in design driven companies, in advertising and marketing agencies or in consulting and services companies. BUSINESS DESIGN Business design is the result of the “Cultura del progetto”, meeting and nurturing managerial skills, and vice-versa. “Cultura del progetto” is a specific Italian expression thatcanbetranslatedas“projectculture”,butitisbetter understood as the high-minded and very pragmatic “design” take on which made this tradition so great. The purpose of the Master is to train designers capable of drafting strategic plans for businesses, communities, and start-ups, branching into marketing and communication. The student in Business Design analyzes problems and test solutions to create successful strategies and to reshape entrepreneurship in a global perspective. Enlightening and interdisciplinary, the curriculum in Business Design creates new connections between the business and the design world, finding inspiration in the constant exchange of information and collaborations with the business community and his professionals. FIND / OVERSEE / REFINE COMPANIES The Master has worked with: 3M, Altre forme, Autogrill, Barilla, BTicino, Co.Import, Comieco, DB Apparel, Ebay Italia, Elica, Fondation Interieur, Italia Independent, MDF Italia, Moreschi, Pininfarina, Piquadro, Procter & Gamble, Rilastil, Royal Rose, Sevengrams, Slowear, Sunstar, The Coca Cola Company, Unieuro, Unilever, Veuve Clicquot, Wega. 52 53 Domus Academy Master in Business Design
- 28. FASHIONFashion was born asan implicit rule of distinction, and it grows as a fast, meaningful and eternal metamorphosis of collective behavior. 55 Our Master's Programs — FASHION With the Patronage of
- 29. STRUCTURE The program isorganized in four main modules lasting eight weeks each, which include courses and workshops, followed by a 8-week internship period and a final portfolio presentation. Core Workshop — Fashion Styling (6 credits) — Retail & Visual Merchandising (6 credits) Elective Workshop (6 credits) One to be chosen from: — Fashion & Luxury Brand — Fashion Buying — Fashion & Luxury Communication Free Choice Workshop (6 credits) One to be chosen from the active didactical offer. COURSE ects 6 COURSE ects 6 COURSE ects 6 COURSE ects 6 CORE WORKSHOP ects 6 CORE WORKSHOP ects 6 ELECTIVE WORKSHOP ects 6 FREE CHOICE WORKSHOP ects 6 INTERNSHIP ects 12 Night Birds for Rough magazine, project by Edward Cordoba Master in Fashion Styling & Visual Merchandising 2013/14 Aquarium for Andrea Lazzari, project by Angelina Goncharova Master in Fashion Styling & Visual Merchandising 2015 Master in FASHION STYLING & VISUAL MERCHANDISING Styling & Visual Merchandising is the path for those who want to communicate through images, for those who constantly create visions to be reflected through a shop window. AUDIENCE The program is addressed to candidates with a curriculum in Fashion Design, Design, Photography, Architecture and Communication or disciplines related to the program’s field of study, and at young professionals in the fields of Industrial Design, journalism and media offices for Fashion, Fashion Styling, or Visual Merchandising, in addition to owners of fashion companies eager to improve their skills. OUTCOMES The Master in Fashion Styling & Visual Merchandising aims to form professionals able to pursues careers as a Fashion Stylists or a Visual Merchandisers, starting their own businesses or working for fashion companies, advertising agencies, TV, as a Celebrity Assistants and in all areas involving visual communication. Carved out of storytelling and visionary attitudes, what is highlighted and developed in this master course is the ability to communicate brand identityvaluesthroughvisual tools, in ordertoincreasebrandattractiveness and provide clients with new experiences. Fashion Stylists and Visual Merchandisers are two versatile and interchangeable, yet necessary figures; they are essential for the development of a competitive market and a world where visual communication plays a key role in the success of a company. LOOK / SELECT / COMBINE COMPANIES The Master has worked with: 10 Corso Como, Bonaveri, Future Concept Lab, GQ, Moncler, Marni, Moschino, Patrizia Pepe, PleatsPlease, Stone Island, Salvatore Ferragamo, Muuse, Trussardi. 56 57 Domus Academy Master in Fashion Styling & Visual Merchandising
- 30. STRUCTURE The program isorganized in four main modules lasting eight weeks each, which include courses and workshops, followed by a 8-week internship period and a final portfolio presentation. Core Workshop — Fashion Collection (6 credits) — Fashion Identity (6 credits) Elective Workshop (6 credits) One to be chosen from: — Structural Design — Body Extension Design — Fashion Styling Free Choice Workshop (6 credits) One to be chosen from the active didactical offer. COURSE ects 6 COURSE ects 6 COURSE ects 6 COURSE ects 6 CORE WORKSHOP ects 6 CORE WORKSHOP ects 6 ELECTIVE WORKSHOP ects 6 FREE CHOICE WORKSHOP ects 6 INTERNSHIP ects 12 Re-generation, project by Ozlem Koca — Master in Fashion Design 2013/14 Flying, project by Zhi Meng — Master in Fashion Design 2013/14 Master in FASHION DESIGN The Master’s in Fashion Design is an in depth integration into the creative, cultural and productive aspects of the fashion system, representing a daily dialogue between industry experts and the need to create an important figure able to govern and guide creative processes, from material experimentation to visual communication of the product. AUDIENCE The program is addressed to candidates with a curriculum in Fashion Design, Accessories Design or other disciplines related to the program’s field of study, that wish to develop their professional skills in the Fashion Industry. OUTCOMES The aim of the Master in Fashion Design is to train professionals who have the ability to combine their creativity and their organizational skills with theoretical/practical knowledge and the world of production. Employment opportunities include: Fashion Designers, Creative Directors, Textile Designers, Trend Searchers and Product Managers, Cool Hunters or Fashion Editors in fashion brands, design offices, magazines or establishing own businesses. The Master’s in Fashion Design is a journey of experience and opportunity that skillfully combines theory with important partnerships, which are qualifying and decisive for the path of every Academy student. The purpose of this master’s course is to respond to the constant changes of the Fashion System and to envision its future by practicing and stimulating creativity, instructively promoting identity and practical talent, as well as entrepreneurial skills and innovative and critical thinking. DREAM / EXPERIMENT / MAKE COMPANIES The Master has worked with: Trussardi, Ballin, Bottega Manifatturiera Borse, Breil, Cammarata Gioielli, Cartier, Coccinelle, Diego Dolcini, Dunhill, Fondazione Gianfranco Ferrè, Hogan, Janet & Janet, Leu Locati, Lineapelle, Manas, Marsèll, Moreschi, Riri, SAOBC (South African Ostrich Business Chamber), Swarovski, Tod’s, Unic. 58 59 Domus Academy Master in Fashion Design
- 31. STRUCTURE The program isorganized in four main modules lasting eight weeks each, which include courses and workshops, followed by a 8-week internship period and a final portfolio presentation. Core Workshop — Fashion & Luxury Brand (6 credits) — Fashion & Luxury Communication (6 credits) Elective Workshop (6 credits) One to be chosen from: — Fashion Styling — Retail & Visual Merchandising — Fashion Buying Free Choice Workshop (6 credits) One to be chosen from the active didactical offer. COURSE ects 6 COURSE ects 6 COURSE ects 6 COURSE ects 6 CORE WORKSHOP ects 6 CORE WORKSHOP ects 6 ELECTIVE WORKSHOP ects 6 FREE CHOICE WORKSHOP ects 6 INTERNSHIP ects 12 Reinvention, project by Megha Bhambhani in collaboration with Park Hyatt Milano — Master in Luxury Brand Management and Master in Interior & Living Design 2012 Master in LUXURY BRAND MANAGEMENT The Master in Luxury Brand Management is Luxury as a state of mind. When heritage and traditions are continuously and accurately renewed, with elegance, newness and know-how as contexts where distinction and uniqueness are the key to success. AUDIENCE The program is addressed to candidates with a curriculum in creative disciplines who wish to acquire marketing and business management skills, as well as graduates in social, economic, managerial disciplines who wish to expand their knowledge in the field of luxury goods, services and experiences. OUTCOMES The Master in Luxury Brand Management aims to equip students with skills and abilities to become Luxury Brand Managers, Product Managers, Marketing Managers, Communication & PR Manager, or Branding & Marketing consultants. With this as a spring board, the Master has set its goal as training new managersequipped withbrilliantmarketing skills. New professionalfigures able to increase experience, providing a sense of purpose, while meeting the new needs and desires of each luxury customer. During their studies, students on the Master in Luxury Brand Management will acquire the eclectic and professional skills to work in a world that combines creative- thinking, organizational and managerial skills, beyond what is creative and multidisciplinary; moreover, Domus Academy students will enhance the practical component of their coursework releasing their spirit of emulation completely and following their vocation: like rough diamonds that must be cut and polished to acquire value. EXPERIENCE / ELEVATE / EXCEL COMPANIES The Master has worked with: Cartier, Castel Monastero Spa & Resort, Christie’s, De Beers (Forevermark), 10 Corso Como, FutureBrand, Moncler, Oteri, Park Hyatt Milan, Pommery, Recarlo, Salvatore Ferragamo, Stone Island, Trussardi, Zagliani. 60 61 Domus Academy Master in Luxury Brand Management
- 32. STRUCTURE The program isorganized in four main modules lasting eight weeks each, which include courses and workshops, followed by a 8-week internship period and a final portfolio presentation. Core Workshop — Fashion & Luxury Brand (6 credits) — Fashion Buying (6 credits) Elective Workshop (6 credits) One to be chosen from: — Fashion Styling — Retail & Visual Merchandising — Fashion & Luxury Communication Free Choice Workshop (6 credits) One to be chosen from the active didactical offer. COURSE ects 6 COURSE ects 6 COURSE ects 6 COURSE ects 6 CORE WORKSHOP ects 6 CORE WORKSHOP ects 6 ELECTIVE WORKSHOP ects 6 FREE CHOICE WORKSHOP ects 6 INTERNSHIP ects 12 The perfect mix developing an online portfolio for a luxury multi-brand estore, project by Almagul Kassymova, Chollatarn Jatchavala, Pelin Arbel Yuksel, Anna Sukhomlinova, Chetan Lakshmi in collaboration with Bernardelli and Camera Italiana Buyer Moda — Master in Fashion Management 2015 Master in FASHION MANAGEMENT The Master in Fashion Management provides dynamic and expressive individuals with the opportunity to rise to the challenge, to dare: an inclination that has a strong connotation with the mind of a highly creative leader. AUDIENCE The program is addressed to candidates with a curriculum in business, design, liberal arts or human science and who are interested in the world of Fashion and wish to acquire the skills and organizational management competency to begin a career in the Fashion Business. OUTCOMES The Master in Fashion Management aims to train professionals capable of transmitting creative sensibilities through managerial skills. Graduate students can aspire to occupy different positions within the Fashion Industry, such as: Fashion Brand Managers, Product Managers, Retail/Store Managers, PR Managers. The course opens the doors to graduates to gain employment as fashion buyers or experts in communication and events. Graduates will also develop the necessary skills to become self-employed or run their own companies. This,added tothe abilitytoanticipate andmanagechangeanddemanding contingenciesasarecurrentrealityofthefashionsystem,is thesolid foundation ofthe course, where the ultimategoalis togainprofessional competence in envisioningpathsand leading processes. TheMasterinFashion Managementisthe epicenter fromwhich this new generationofmanagers has theopportunitytopropagate and spreadits uniqueandnew methods,helping themtogetreadyand become responsivetomarketdemands. ANALYSE / STRATEGISE / ENVISION COMPANIES The Master has worked with: 10 Corso Como, Albino, Antonioli, Calvin Klein Collection, Camera Italiana Buyer Moda, Bonaveri, Felice Limosani, Fendi & Maserati, Google Italia, Hogan /Gruppo Tod’s, L.A. Distribuzione, L’Orèal, La Rinascente/Tiziana Cardini, Moncler, Montblanc Germania, Penelope Stores, Pleats Please, Privalia, Red Valentino, Roberto Cavalli, Salvatore Ferragamo, Sergio Tacchini International, Sisley – Fabrica, Slowear, Stone Island, Swarovski Elements, Sonae Sierra, Trussardi, Versace Gioielli, Versus /VJC, Vionnet, Youtube. 62 63 Domus Academy Master in Fashion Management
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- 34. Now,youcanboostyourprofessionalandacademiccredentialsatonceby earningaMaster’s-LevelCertificatefromDomusAcademy.Theeight-week Master’s-LevelCertificateisdeliveredthroughanintensive,hands-on workshopindesignorfashion.Guidedbyseniorprofessionals,youwillbe challengedtocreateanactualprojectforanItalianorinternationalcompany ordesignerinasimulateddesignstudioenvironment.Attheprogram’s conclusion,you’llhavetheexcitingchancetopresentyourideastocompany/ studiorepresentatives.You’llmakevaluablecontactswithyourpeers,faculty expertsandindustryprofessionals—connectionsyoucanleveragetoescalate yourcareertrajectoryindesign.Andyou’llupdateandexpandyourportfolio intheprocess. MASTER'S-LEVEL CERTIFICATES ON-LINE CERTIFICATEPROGRAMS Want to broaden your professional experience in the design or fashion world? Want to solve real design problems for real companies — companies known both in Italy and abroad? Enhance your creative skillset and maximize the potential for career advancement. EarnyourDomusAcademyonlinecertificatein less than 12 months by enrolling in a flexible, online program. Learn from industry professionals, delivering practical skills and industry knowledge. Study with like-minded students fromaroundtheworldina convenientglobalonline learning environment. PROGRAMS OFFERED — Certificate in Design Management — Certificate in Entrepreneurship for the Creative Professions — Certificate in Digital Design and Communication PRE-MASTER'S PROGRAM TheDomusAcademyPre-Master’sProgramisafour-month intensive postgraduate course that will prepare you to attend a Master's program at Domus Academy. Created for graduates who have at least three years of university-level study, the Pre-Master’s Program will give you the foundational understanding of design required to attend the master’s-level programs at Domus Academy. It will also provide you with valuable opportunities to construct a professional portfolio under the guidance of mentors who are experts in the field. Domus Academy students, wallpaper illustration drawing by Olimpia Zagnoli WHAT YOU WILL LEARN You will develop: — Your knowledge of broad design domains and your practical skills within each of these domains — A clear understanding of the range of themes and processes relevant to a specialized area of study — A professional portfolio in your area of interest, following the guidelines for admission to master’s-level programs at Domus Academy — The technical skills and organizational abilities required for master’s-level learning, acquired through labs and project activities — A variety of techniques and tools to better communicate and present your design ideas 66 67 Domus Academy Other Courses
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- 36. 2 Prepare yoursupporting documents Therequired documentsforadmissionare: — Application form — Detailed curriculum vitae — Copy of bachelor degree /academic diploma (in English language) — Official academic transcripts / Mark sheet (in English language) — English language certificate (IELTS 5.0 Academic or equivalent) — Motivation letter — 2 recommendation letters (if available) — Copy of passport — Portfolio of projects (not compulsory for Master in Business Design, Master in Fashion Management, Master in Luxury Brand Management) — Application fee of Euro 100 3 Submit your application You cansubmityourapplicationfollowing threeways OPTION 1: Apply online and upload your documents here: http://application.domusacademy.com/ OPTION 2: Scan all your documents and email us at: admissions@domusacademy.it OPTION 3: Mail to: Domus Academy – Attn: International Admissions Office Via C. Darwin, 20 – 20143 Milan, Italy 1 Check your entry requirements Generalentryrequirementsinclude: ADMISSION PROCESS 1 Check your entry requirements 2 Prepare your supporting documents 3 Submit your application 4 Enroll to our programs The smartest way to enter our world — at least 15 years of previous education — holding a first level academic degree in fields related to the selected study program — certificate of English language (IELTS 5.0 Academic or equivalent on entry) 70 71 Domus Academy Admission
- 37. Domus Academy students DomusAcademy campus 4 Enroll to our program Students wishing to receive an Academic Master Degree recognized by the Ministry of Italian Education (MIUR), will need to be enrolled at NABA – Nuova Accademia di Belle Arti Milano, which will award the Master program with the above title*. Upon being offered a place, you will be required to secure this by submitting the Enrollment Form and the receipt of payment of the pre- enrollment fee within 30 days from the Admission Letter’s date. Once the completed and signed enrollment and the pre- enrollment fee payment receipt have been received, Domus Academy will provide you with all necessary assistance to apply for a student visa. * The Academic Master Degree worth 60 ECTS awarded by NABA (if the student is eligible according to MIUR requirements and has submitted the “Declaration of Value” by the beginning of the course). 72 73 Domus Academy Admission
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- 39. These are justsome of the cities in which the Laureate International Universities network is located: Italy, Malaysia, California, New Zealand, Swiss, New Mexico, Turkey, United Kingdom, France, Brazil, Spain, Germany LAUREATE INTERNATIONAL UNIVERSITIES Domus Academy joined the Laureate International Universities network in 2009. Laureate is a trusted global leader in providing access to high-quality, innovative institutions of higher education. The Laureate International Universities network includes more than 80 accreditedcampus-basedandonlineuniversities in 29 countries throughout North America, Latin America, Europe, Northern Africa, Asia and the Middle East. Laureate universities offer more than 130 undergraduate, master’s and doctoral degree programs in fields including architecture, art, business, culinary arts, design, education, engineering, health sciences, hospitality management, information technology, law and medicine. Ernesto Zedillo, the former president of Mexico, serves as Presidential Counselor of Laureate International Universities. As Presidential Counselor, President Zedillo provides Laureate institutions with insights from his experiences in the policymaking, diplomatic and academic worlds. The Laureate International Universities network serves more than 1,000,000 students worldwide. But our community includes more than the students we serve; it also includes faculty, alumni, families, and the employers who hire our graduates. In this way, Laureate International Universities makes a positive difference in communities around the world. Our success is measured by the fact that when our students succeed, countries prosper and societies benefit. For more information: www.laureate.net 76 77 Domus Academy Laureate International Universities
- 40. * This conversationwas recorded in Cagliari on July 11th 2007, during Festarch Festival Stories on stories between architecture & narrative An interview* with Rem Koolhaas by Gianluigi Ricuperati Domus Academy Creative Director 79
- 41. 80 81 Domus AcademyStories on stories between architecture & narrative GR Whenhewasaskedwhohisidealreaderwas,the AmericanwriterHenryMatthewssaiditwassomeone whogetssoannoyedwhilereadinghisbookthathe throwsitoutofthewindowbutthentakestheelevator RK We all are post-modern writers and I think that there are simply no exceptions. Nevertheless, I don`t really like experimental writing because the main problem of experimental is the avant-garde position, that can never deal with more political and more practical issues. I think that the choice of architecture in the end was simply a commitment to the world or kind of refusal to remain in the world of experimentation. I think the great thing about architecture is that it has let me develop all kinds of territories as a writer. I’m simply truly interested recognizing myself or projecting myself into another world. GR Fromacertainperspective, this could roughly bedescribed apostmodernapproach not just towriting, but to culturetoo. Oneof theimpressions I’vehad whenreadingRemKoolhaas’ writings is that he’s oneof themost idiosyncraticand interestingof postmodernwriters, likeDonald Baltherme, Don DeLillo and WilliamGaddis – atypically American schoolthat has dealt with themes likePopculturein avery cerebralway at times, and inavery powerful way at others. I’d liketo ask R.K. if heregards himself asapostmodernwriter. GIANLUIGI RICUPERATI Since this conversation will be about writing and literature, I’d like to state for the record that Rem Koolhaas is not an architect but a writer. My first question, in fact, is about the anxiety of influence, a term coined by the literary theorist Harold Bloom, who claims that to find their own voices, writers have to break free of their fathers’ influence. I’d like to ask Rem Koolhaas which influences he has broken free of, if he thinks he has found his own voice and, if so, when he found it. To me his writing, his voice, is like Godard’s film Weekend rewritten by Roland Barthes. REM KOOLHAAS This is the first time I have been invited to talk as a writer and it makes me very happy. I think in my case anxiety of influence has been a particularly complex issue, because my father was a writer and the biggest deal was to convince myself that I could enter the territory that he had already occupied. I started by writing about architecture and home architecture in English, a language that wasn’t my own and I think that was perhaps my first strategy to liberate myself, to go in a different territory, where confrontation was freer and more anonymous. If you look at my work or career, I think it’s a cause of embrace of influence rather a fear of influence. I have to say that some of my most original contributions re perhaps the least personal contributions or the mostly deeply influenced. It seems I reversed that model.
- 42. 82 83 Domus Academy RKIn the 60s, professional work in journalism was not regulated and particularly easily in the Netherland’s, where I was part of a kind of journalistic, you could say “collective” movement, actually a newspaper, acting as a launching pad for a lot of Dutch writers, poets, even painters or that particular generation. It was a kind of unusual situation, because the editor-in-chief was a woman, an incredibly bitchy, incredibly humorous rightwing woman with the fantasy of being a tycoon, a fantasy which gained us unbelievable freedom. I could basically do what I wanted and since I was interested in cinema, I did interviews with Fellini and many other Italians, but also with some architects, like le Corbusier and Constant. The only thing the editor-in-chief wanted was that the articles were anonymous; a very important experience, which is still a source of nostalgia. I wrote Delirious New York almost as a ghostwriter, a kind of anonymous voice I deeply relished and enjoyed, but after a while she asked me to work on the paper’s layout too, and I think that combination triggered kind of conception of art and architecture. GR Listening to what Rem has just said, I have the impression that his writing doesn’t seem to have a point of view. This isn’t a criticism but a sort of quality as if, instead of writing, R.K. is being written. When architects create spaces or landscapes, do they have a point of view? Stories on stories between architecture & narrative RK I think anyone who talks about writers should talk about reading, and perhaps more than a writer, I am a reader. The kind I’m not sure still exists. Whatever I write or say should be read in the context of this kind of common topology, because our engagement should not be about finding a book in which recognize ourselves closely, or remotely, but simply a way of embedding ourselves in a particular tradition in a selective way. I’m happy it happened to me like that and that’s why if you ask me if I am a post modern writer, quoting names like Bartheme and Gaddis, I would say no, I’m a post- modern writer because I like Von Kleist and Stendhal. GR R.K.’s first steps to becoming a writer were as a journalist. I think for a person curious about everything like him, writing for newspapers is what we call “a burden and a delight” because, in a sense, it is one of the best jobs for curious people, but it is also true that newspapers are tending to be increasingly targeted. And a writer who’s interested in everything needs readers who are interested in everything. I’d like to ask R.K. how he got started in journalism and if he liked being a journalist. togetitback.AfterthisshortintroductionI’dlike toaskR.K.ifhebelievesinthisabstractionofthe idealreader,andifthereisabookthathasprovoked inhimthissamereactionofbothirritationand wantingtokeeponreadingtofindoutmore.
- 43. 84 85 Domus Academy RKOne of the things that is really deeply enjoyable for me is working and operating between two different disciplines. Anyone who writes has a vast choice in terms of the genre he wants to write, while in architecture you don’t have that repertoire or rather I think that you have it, but you don’t realize that you have it: the theme of permanency of architecture is a very heavy burden. My involvement in literature simply makes me able to assume different identities, and anyone who has literary background can see that and can see that if I write Junkspace I am intentionally another person than when I write something about Singapore. Instead in architecture people would think: it’s changed and I don’t recognize it anymore. But I believe that, in order to be as explicit as possible and get a message across with maximum impact, it’s a wonderful to be able to choose different voices. GR It struck me that Delirious New York was written more by a ghostwriter than by a writer. I get the impression that in some of his writings R.K. is the ghostwriter of a multitude, and that this multitude is our contemporary identity. I wanted to ask Rem if he has this same impression. RK This is a kind of complicated story, and it’s also kind of related to writing and to architecture. So maybe in the beginning one of the beauties of journalism was anonymity and curiosity, but I realized before I started Stories on stories between architecture & narrative Rem Koolhaas, Delirious New York. Book cover
- 44. 86 87 Domus Academy manifestowith the name, not to be my manifesto, but you have a kind of generosity to read into New York a kind of situation. So again it was not an earnest piece of architecture writing, but in essence a kind of literary formula to enable a literary manipulation. GR In Delirious New York there’s a brilliant quotation by Gertrude Stein which says that Americans are materialists of the abstract. I think a whole history of literature could be based on how certain authors have taken quotations as starting- points for entire imaginary edifices. I’d like to know the story behind that quotation because I was very struck by it in the book. RK I think in the beginning there is a quote of Dostojevski and Vico. I think in a way Vico was more important for the entire book, because what was inspiring about him, was the confidence to look in your mind for evidence rather than in the world. Anyway, I think that the greatest genius of American civilization was to make physical things or to make things physical, and when I first came to New York, I realized that, for instance, the sheer of physicality of complexes like the Rockefeller center was something that could never exist anywhere else, simply because it seemed that only in America there was this kind of logistical ability to organize enormous streams of meters in such an intelligent manner, in contrast of course with the much Stories on stories between architecture & narrative to work on New York, that in architecture anonymity exists, but the architecture that we are collectively interested in is not anonymous and so it’s also kind of related to the avant-garde. In the 70s, when I first became familiar with what architecture was, even before I decided to study it, I realized what is important in architecture is the history of avant-garde that existed in Germany, in Russia, to a less extent in Holland, in France, even in China, but the one area where it seemed not to exist was America. Also it was clear that the defining moments in modern architecture had been both in terms of buildings and manifestoes and all those defining moments generated by geniuses that basically invented those movements. At that point I became very interested in trying to develop a sort of content model to that, because it was almost impossible that a domain so critical for the whole world would be so dominated by avant-garde, so, in a polemic way, I decided to take New York, best on the observation of all the writers and manifestoes that had described but not built, and so I mirrored that observation, I said America is about reality but in the absence of manifestos. So the whole notion of the book was a literary formula, where I provided evidence in retrospect of a situation that I declared an artistic movement as important as all those avant gardes. In fact, working a lot I discovered that there were for instance secret connections between avant garde of Soviet Union and avant garde of America. So in a way, it was a kind of literary construct not to be a
- 45. 88 89 Domus Academy RKYes I've written diaries but diaries for me are not a genre. One of the genres least like the diary is the film script. I know that R.K. wrote one in the 1970s. I want to ask him if he can tell us who he wrote it for and whether it was a success. When I started studying I was 26, I went to a very expensive school and I had to earn my own money. I had a friend who was a moviemaker and we wrote movie scripts together. The movie is coming out in DVD, it was a melodrama called “White slave”, inspired by Werner Fassbinder, whose movies are very interesting because they deal with guilt, pleasure, drama, history, but in a way they will never reveal to you how serious they are. Our first movie was a melodrama about idealism whose principal character was a good German. When we did it was 1972, and Holland was very reactionary in terms of forgiving the Germans, so the movie was so controversial in Holland, that the filmmaker had to leave the country – I had already gone – and we became persona non grata. The second film we wrote which wasn’t made was for an American director, Russ Meyer, also a maker of melodramas and of what people considered pornography. It was written in 1974, when oil was found in massive quantities in the Middle East. To me it still remains a very interesting structure because there were three stories in it. GR What I want to ask is: has Rem Koolhaas ever kept a diary? Stories on stories between architecture & narrative more ephemeral unrealistic tradition of Europe, where ideas are more important. I wanted perhaps to create a kind of synthesis between ideas and physicality or at least describe the theoretical possibility of that. GR Delirious New York had real pace, and it reminded me of John Dos Passos’ Manhattan Transfer, partly because of the subject. Since Junkspace came thirty years after Delirious New York, I wanted to ask Rem if he feels his writing has changed in any way. RK I think there is something really scary in the current understanding of architecture, of the leaders of architecture supposedly, or of the people in my position, that humor and pleasure are almost nonexistent features, so to me all the writing is going to be simply dictated by what gives me the most pleasure but also what to me are the most polemical things in the world. How can I either reinforce or contradict the emerging consensus of our character and consequently confuse those issues? So it’s really one of the ways in which we can work on reputation and of course to the extent that I’m becoming part of a larger office where the kind of interaction between personality and work inevitably diminishes almost to the point where writing remains one of the really and truly private territories for my own expression and for my own pleasure.
- 46. 90 91 Domus Academy RKYes, of course and really in a Barthes’ sense more than a Foucault’s sense, but you also have to understand that Delirious New York was written in the seventies and therefore in the seventies Italian architecture historians dominated the moment, Tafuri was the absolute rule […] in architectural theory and what’s more both Tafuri and […] were also writing about New York and the skyscraper, so in a certain way it was a very exciting moment because you knew the kind of […] history being written, and you felt the kind of heavy wheels turning […] and of course Delirious New York was a book that questioned some of those assumptions very seriously, and particularly I think questioned the moralism that was, the two types of engines fueling the Tafuri project, and I would say that from that moment on there has been very profound confusion about whether what we do is moral or immoral and to my enormous surprise still stimulate a persistent debate and question if you look for instance at the […] junk place or not. If you look in 2007 at the Italian press, I find it totally amazing that it seems as if those two sides are still confronting each other across thirty years of history. Stories on stories between architecture & narrative GR Has anyone since asked R.K., as an architect, to be a stage designer, to design and build stage sets? GR WhenhewroteTheArchaeologyofKnowledge, and especially The History of Madness, Foucault invented a method, he went looking where no one had looked before for documents about the segregation and recovery of the sick and the use of certain kinds of torture. His archaeology of knowledge has some things in common with DeliriousNewYork.IsDeliriousNewYorka“putting into practice” with regard to New York City and cities in general? RK Never. I think I want to say something more about writing. Simply because to me the beauty about writing is that you don’t have to be honest in writing, and you can never adopt different identities. For that reason, it’s deeply ironic that the writers who actually deeply influenced me like Roland Barthes and to a less extent Foucault, for instance in a book like “Delirious New York” is incredibly evident and explicit, but no one has ever identified that kind of influence and so, as I said, in the beginning we have to always embrace our influences, but in some sense embracing influences also acts like a camouflage act, making it invisible.
- 47. 92 Domus Academy ceo Marc Ledermann cao AlbertoBonisoli creative director Gianluigi Ricuperati head oF institute Claudio Moderini head oF Fashion school Barbara Trebitsch doMus acadeMy Faculty Master prograMs course leaders Sara Desimoni Nima Gazestani Maria Jaber Anthony Louis Marasco Gianfranco Olivotto Ilaria Pavone Elisa Poli Irene Sartor Marie-Pierre Schickel Amelia Valletta Francesca Vargiu contacts Domus Academy Via C. Darwin, 20 20143 Milano 02 4241 4001 domusacademy.com doMus acadeMy — graphic design POMO
- 48. Location MILAN ITALY 100%I NT E R N S H I P P L AC E M E N T R AT E 83% P L AC E M E N T R AT E * 10 MASTER PROGRAMS 97% 50 International students Nationalities represented 250companies involvedininternships agreementprocesses * certificate by Demoskopea