 |
 |
| . |
|
 |
| . |
 |
|
|
| . |
 |
| . |
|
|
|---|
| . |
|
 |
|
Interview
with Obie and Giuseppe
at
Orange Skin
Interviewer: First, a little background. Where were you born, where did you grow up? Obie: I am born Nigerian. I grew up English. I am actually back and forth. My studies also split between the UK and in the US. I worked for several companies prior to striking out on one's own. Interviewer: Where did you go to school? Obie: Actually, I finished up here at the University of Milan School of Architecture … back in the day when it was a bit crazy, and worked for SOM (Skidmore, Owens & Merrill). Then … Maddox Associates, and had my first year of excitement. Interviewer: You worked for SOM, what was your experience with such a massive company…? Obie: Yes, SOM … which is involved in the Hancock Center. While physically my experience was split between small companies, so one could actually have that really hands-on situation, which actually really defined what I end up pursuing. SOM was a complete opposite, which was like a multinational. So, we are working on projects from actually for me from Barcelona to London to Spain. I think it was a pretty exciting period, actually, and because of the stature of the company, we had the best of the best coming in from all parts of the world … from Japan, Italy to Germany, France, the UK and a few Americans. So, it was a really interesting experience not just for work but also mentally, and socially it was pretty interesting. Interviewer: You won an award from Interior Design. Obie: Yes, well there are several. But a lot of the stuff happened while I worked for a company called Eva Maddox Associates. So, the award was of course for the company but I was fortunate enough to be the project designer behind several awards that the company received and several awards from different clients and stuff. Interviewer: Have you kept in contact with the people you worked with during this period, with Eva Maddox? Obie: Not really. The only contact I keep is actually with Eva Maddox herself and some of the senior people in the company but most recently we have been so busy and it has been unfortunate with the contacts but I think it is a very, very strong scenario and they know where my respects lie. We continue to have relationships through today, which I think is a pretty good situation to be in because most times you leave places and that is that but they do not want to see you and you do not want to see them but there is a relationship there. Without those people for real I probably would not be where I am. I feel that in a lot of ways. They have given me support for many years. So for me it is the same situation.
Interviewer: Giuseppe, where is your home? Giuseppe: I was born and raised in Italy. I spent most of my life here in Rome. I had my own firm in Italy. I worked probably ten years prior to moving here to the states. Interviewer: You had your own firm? Giuseppe: I did projects studies for Rome and for public structure then … from buildings to renovation of residences to interiors because in Italy an architect can be pretty much flexible. Interviewer: The architectural process is different there? Giuseppe: I think the role of an architect is seen in a different way and you are not just, say, worrying about how to put together one building, but it is an approach. It is a way of solving an equation. Interviewer: This actually leads into a question for both of you. What is your future? Obie: There is something also beyond just architecture actually - also, his projects produce furniture lines. Interviewer: Really…are they in development or production? Giuseppe: Well, they are still in production now. It has been like twelve years now. Interviewer: All custom? Giuseppe: Custom made furniture. Interviewer: What is the name of the company? Giuseppe: One is Bodice de Barre and the other one is Prepelpi. Interviewer: A few more basic questions. When did you two meet? What year? Obie: It was eight years ago I think. Interviewer: So, about 1995. When did you decide to open Orange Skin? Obie: About three years (ago).
Interviewer: You had to build it, of course, and attain the designers to project your image… Obie: No, I think an idea has to be formed and that is what we were trying to do. Work it out enough to be able to then go forth and then beyond it just working out the kinks but to go from an idea to the realization takes a minute. I think in our situation, we understood the immediacy of what had to be done and the timing could not have been anymore perfect. So, for us we understood there was a loophole in the market and there was something that needed to be done and that was a risk and we just jumped in and went for it. Interviewer: You spoke of the differences in being an architect and designer in a European setting - a non-American setting. How would you compare the two? Obie: For me it is more like the world is changing rapidly. People are becoming a lot more aware of what possibilities are. Unfortunately or fortunately I should say there is no -- there is a good thing or a negative or positive situation, but American concept has been driven by business first, versus the idea or philosophies behind design or whatever. So, it is all about the bottom line and that really reflects a different mentality into what gets shown because a house, an object … there are several objects that do the same function. Yet, they are approached differently, one from the idea of design functionality and then another is function. American is about function -- and beauty, sometimes, or a lot of times, gets lost in it. If you take it away from the idea of design, take it to say buildings per se, Chicago, (had) one of the largest building construction booms. Now, of all that, ask the residents of Chicago and someone in the design company team could, you point to one or two buildings that have redefined a new language for (an) architect, be it in residential and all the residential condos and businesses or the public projects. Interviewer: There are very few. If any… Obie: That is the whole point. But then you are like, okay, how many buildings were built on the budget, on time, (but) what are the standards of it? Zero standards. Giuseppe: I do not want to sound cocky but that is not architecture because to me that is the entire opposite of what an architect should do. I am not just talking about Italians but not architect will ever replicate the same project from a different location. Why? Because each single location, each single project supposedly has its own peculiarity, has its own way…. None of the architects that I work [with] ever replicate a project. So, like it is in your mind not to do that. It is like giving up your own professionality. Obie: Not just your professionality. Giuseppe: Professionality and personality, as well … of course, if you talk about the biggest firm in the world, like Skidmore, they do very well even in design and architecture. But, in Europe architects are more into why a project must realized in a certain way. Why approach the building in a certain way instead of another way. It is not just going to worry so much about the final details, which there are other professional figures, which are going to be working with you to put it together. You are more involved to create the ideal and what can be done and how you can really solve them than just how to put it together. Now, maybe we can say this, none of the two approaches are complete. I feel coming over here and seeing this other side I think I was missing something -- but at the same time, the American approach, which is not per se worse is definitely missing one other side of it.
Interviewer: Let's talk about a practical matter: materials. Do you think materials coming out now and in the near future will help push design towards more artistic ends? Obie: Let me answer that there is something else that is also missing in this whole equation. [An architect's] world always advances in materials through technology and they have taken things from other fields and bring them to architecture. On the other hand, and this is something -- and I speak not just from the perspective of architect but having been involved in a bunch of other creative endeavors -- the public is equally at fault because the American public … is really not that the most adventurous and accepting of ideas. So when you have a situation like that it also makes it difficult for the few that want to do some things and you cannot because the public does not accept it because they do not know how to accept it. If they do not know how to accept it, well, your clients or the realistic people of the companies you are dealing with it works out great for them because they do not have to go that way. Interviewer: So, are you saying it's a fear of the unknown, the new? Obie: No, no it is not … but yeah, then that is perpetuated by what you do not know. Giuseppe: I think and when we get into this thing when you offer [the new] to people, people will start to realize that there are possibilities. But I think that especially in this country, the industry of housing and construction is the most behind industry there has ever been. If you think of all the revolution we have had with technology in the last twenty years, none of these almost has been applied consistently to construction. I mean to me it was kind of a shock when I saw buildings built with group frame construction and everything. I mean electrical components that are so behind like you will never see any European city -- the way the power is inside the building, how they connect it. And the problem is because they still build with wood. But even though they build with wood, some European systems can be totally applied here -- but they are not approved because it will be a change … or it will go against the union interests. So, everything is so stuck behind. Like, I do not know if you know, but in Europe there is a whole industry that designs switch plates. I mean there are tons and tons of companies that … design [such things, but] you come here and every house, I mean every house that I have been to in Chicago … we all have the same switches. Interviewer: So -- you think it is the American public's fault? Giuseppe: I think it is both. Obie: I think it does go both ways, but I think the media also tends to … have had a big push in at least the last ten years towards more idealization of design. You see this in movies and I think you see it in TV. However, there is also this complete … schizophrenia. On one side they want to be absolutely progressive -- and the other side totally and completely conservative. Interviewer: Now that is American. Giuseppe: Yes. To do something that is not conformed to the other is going to be so much more costly. The thing is, Americans have discovered real estate kind of late, because … the land is more open. [In Europe] there is less land. Land and buildings are your primary source of investments. Everybody is investing in his or her own house. Everybody is taking care of the house and they really want something because that is your house. Here, there has never been this problem because mobility has always been one of the characteristics of living in the United States, so … because maybe two years from now they move to Minneapolis … so, why do you have to spend so much more money to have something custom made that is going to reflect who I am? Now, traditionalists have started switching a little bit. On the other side, people are not asking for new things because at the same time if you buy a new design in a house in a certain way people will think well maybe it is going to be difficult for me to sell it back again. You know what I mean? People are used to the standard. So, if something is boring but it is like everybody else I am more likely to be able to sell it much quicker and get away instead of doing something that is personal and differentiating. Interviewer: So, you see both sides? Giuseppe: Yes, I see both sides. Interviewer: Let's spin-off and go into product design. Tell me what some of the best designs that you have seen coming out these days that have really inspired you? Giuseppe: We do not consider furniture as a separate element of designing our house. Design furniture is always, that is my background studying and working as a professional I have never done a project without thinking what kind of furniture is going to be there because space and what is going to be inside the space have to speak the same language. You cannot have space that is working a certain way and then have the furniture … you know what I mean? The way that we see it has always been something that one fueled the other. So that regarding furniture is like designing this part for a certain job. We do not have a figure exactly… Interviewer: In other words, a designer is a designer. To be a designer means to be designing all things in all forms from top to bottom. Obie: In projects that we have done here it has been exemplified by such a process where from the business character to uniforms to hardware to whatever it will all. It has been so interesting because even for the client it is a one-stop shop because they have other important things to think about. It is more like a commercial project. You are a businessman. You still have to get your stuff to work. You do not want to be caught in-between twenty different people doing stuff when you can actually go to one person but because that philosophy is such that the whole idea permeates through the entire thing so when it is done the client and the customers coming they get it. We can get into the ideas of branding. All kinds of stuff, which have in the past - unfortunately, because of the division between our field as architects -- we never knew it was important to be able to be aware of all of those other secondary items. It was very interesting that, like, in the past five, six or seven years they switched. So, the chair design firms were doing things like signage and environmental design we called it where you mix graphic design to interiors and this and that. Instead of going down, we are going up and a lot of people took notice. All of a sudden it is like wow, I did not think of that. That is a very interesting situation to propose to a client. Well, it should not have been that way because it should have been like that from day one. Interviewer: Had it started from that point? Did it need to get to that point? Obie: We needed to get to that point. It is unfortunate that is the one that not just here in the US but everywhere but especially more here. You know things are completely segregated in a lot of ways you know professions are. There is no interruption between the different arts. The architects would tolerate interior designers because… Giuseppe: out of necessity… Obie: Exactly. Giuseppe: Then you go beyond that. It is like then you have graphic design fields, furniture design, product design, you know. Obie: Yet, in your everyday life, at some point in the course of the day you are involved with all of those different products of these different professions and yet you know very little about what they do. Yet, each one is capable of affecting the other. For me sometimes it is kind of funny when I think about how it is like in the world of fashion. We're really, literally six months ahead of everyone. We are about to start winter and we have already made decisions for what people are going to be wearing come summer of next year. It is done. It is finished. It is done. It has been bought. So, now production is now in process. It is interesting because it is like when you compare it to architecture it is like it has got a ten-year cycle of new things coming compared to this situation where… Interviewer: Can you see things reducing? Do you see that timeline
from ten years to new developments to start turning over where they
become seasonal changes? Giuseppe: Some things can simply change and you are catching up with technology. It is like all kinds of stuff. The same way you have that aggressiveness.
Interviewer: So that raises a question: how would you make people feel comfortable with changing this house, their house, that they have had for so long and that makes them feel good? Obie: Well, I think it is also a certain value in it and that is what he talked about. Giuseppe: The value at first was put into other frames. People at first did not realize that there is a value now towards the [change in] your life.You have new situations where people have multiple parties at home. This is outside and doing all of this little stuff those that continue to exist. But, the more you are internalizing things then the more you start taking pride in your set of dishes. You know it better reflects what you are about because before it did not matter because nobody came there. Maybe it was your girlfriend or something. You are cooking now for a bunch of people. The pots you are using, the art you are buying … you know, maybe your house is one way but then all of a sudden it is … a new situation. Design is even solving your own problem. It is even giving you a different perspective on how to interact in your own house. So, I do not know if you have noticed some of the pieces that we sell here but most of our couches [are] sofa beds. This one can be a bed or it can be a couch.
Interviewer: Transitional, a lot of transitional pieces. Pieces that will go from one place to another and morph into something that… Giuseppe: Is functional. The absence of design, because its functionality is form, because in a way this is very modern. Interviewer: This kind of blending of relationships will become even more necessary especially when it comes to sets of furniture. Where do you see yourself landing? Obie: In terms of as a company? Interviewer: Yes. Obie: As a company, we set out really to provide for ourselves. When I say ourselves I mean a generation of people who up until now have been completely neglected from the world of very well-made pieces by respected designers without the price tag that has no business to do with us. So, I think it is out of a level of frustration where yes these things have been available but limited and even more limited to those who have excess amounts of money to pay just because this was a luxury item. Interviewer: The elite have always had the ability to get the best design and it is now starting to trickle down to ordinary people. Giuseppe: So, to us we have always known the truth and the availabilities of all of this stuff and I think even in the past on projects that we have done we have always sought to bring these kinds of things. We have always noticed when we bring them in and all of your friends are like, "Oh my God where did you get this? How much was it? Are you kidding you only paid X amount for that? Where can I find it?" Nowhere! Well, finally now, yes there is somewhere that we can find it. I mean I am not saying there are not enough places that do what we do but I think when it comes to consistency in terms of the collection we pride ourselves in being of one face to the public. So, you are coming from the most expensive to the least expensive item -- it still reflects a level of design confidence and all that stuff. To me, I think on top of it this is something we do and we are very proud of is also understanding the importance of the accessibility of your stuff. It is not something that should be considered elitist. So, people coming here that … people that do not understand design will have like no clue about design but they can come in and feel at ease. You can watch and see the kinds of people that come in. Interviewer: That is a changing attitude certainly in Chicago, and I think in a lot of major US cities? Giuseppe: Yes, a lot of major cities I would say. Interviewer: And outside of the major cities there is still a lot of work to be done? Giuseppe: Yes. Interviewer: Do you think Chicago is the one, the place where your roots will matter the most? Giuseppe: Well, we both have lived here since I moved to Chicago and I love the city. I love the attitude and I love a lot of things. At the same time, I am able to see what is missing and try to bring something that I know is available to the people that they can enjoy. So, I think this is a perfect example because Chicago is conservative. The idea is when you do something and people accept it and embrace it. Interviewer: They want to accept it. They were never given the chance. Giuseppe: The point is if you consider design like an art that only can sit in museums or in the most expensive houses, well, that is not design. Design is exactly what we have discussed now. It is having function to having the object given a different meaning and a different solution to what their lives today are. Our point is not this is the final solution of something. As life is changing there is going to be some other changes and we will keep following the changes. At the same time, like you were saying, using technology because ten years ago you could not make this chair. Now, the technology can create something and it is so strong that you can use it in the most commercial uses, restaurants and hotels. This can be used everywhere in the world, crowded places. So you buy technology, functionality. The point is nothing here is the end. Sometimes design can be confused into a funky shape or something that looks a certain way that to us is not design. Design is something you put together, an idea that is going to make a difference in some level in your life.
Interviewer: The American public has often seen fashion design as something outrageous, even silly. Do you think that reflects an attitude regarding all forms of design - which Americans are somehow thrown off by the dramatic? Giuseppe: Well, no, you should also remember this is the same country that produced some of the most extravagant cars of the 1950's and there is yet to be any other country or group of people to replicate what the Americans give the world when it comes to automobiles of the '50's. So, it is understood here. It is not like you are afraid of it. It is actually part of the culture. [Americans] gave the world that, but … this society changes faster on one side and extremely slow on another side. The same can be said of [other] Western cultures, and why? I think at the end, one of the key elements of our society in general is that it lacks a sense of individuality. A sense of individuality is looked upon in a sense of being a freak. You … try to pride yourself in being like "we support the underdog, we support the rebel, we support all of that that is what it means to be American." This is what Americans are supposed to be. So, it is a very funny situation [for non-Americans], waiting from the outside to come in and knowing what you see from the outside and … expecting that to be, and you find it is completely not. Obie: That is actually something you probably experienced because when you grew up on a different continent, you look to America as your sources for the future. Giuseppe: We are brought up thinking [Americans] are modern, and then you come over here. What is this thing? There have been so far maybe a limited target of people that probably saw all the same movies or when we read about it (inaudible) bound to the real everyday life. So, one of the keys is making things at least accessible. We manage this place as a museum. A lot of people compliment and say it looks like a museum. Interviewer: A piece of art. Giuseppe: A piece of art found on the street. Like you were saying, there are the kids that come in and play around and we have the bottle, I do not know if you have seen the bottle in the window and everybody can come in and jump in and have fun. So, it is a different approach altogether. It is no longer unavailable. So, at first it is more expensive. There are some costs involved but if you compare what we are offering with other things … [this] is still a business [in which] we are crawling. We are not exactly walking yet, but it has been exciting - like, unbelievable. I think at a place like this people can come in now and say, "I should have thought about this." They can come in and they do not have to deal with anybody. They are doing their thing. To me that is our future. That is the whole … one of the most important basics of this company is really making it possible for kids to be accepting of these kinds of environments. When you accept it at a tender age then there is nothing for me to convince you [of] when you come of age -- you are used to it. You are not afraid of it and when you think about our generation how many people were fortunate enough to have experiences such as that when we were that age? Interviewer: Do you think you have had an impact on the Chicago design field, specifically interiors? Giuseppe: I do not know. I cannot say. Interviewer: Well, let me express an opinion: you have made quite a mark. The idea of getting across that good design can be accessible to not only the elite but the ordinary person, even the poor, is a very American idea. Obie: To us we need a lot of help from a lot of people because we are very much dedicated to it and come next year there are a lot of things we are going to be doing. Interviewer: What is in the future for you? Obie: We do not know and it has been really nice like that. Interviewer: It sounds like you have some ideas that are in the works. New companies? Obie: There are things that are going to be coming up but like we have always done stuff … put it this way, we have never been afraid to jump into the water and that is how we live our lives. By January there should be an e-commerce version of Orange Skin. There is an Orange Skin website now, but that is not what we are talking about because … we have on a regular basis ever since this summer, have been dealing with other states. We ship a lot of things all over the country and it has been very difficult, of course, for a lot of our customers and people that continue to read about the company that want to have things from it. So, this way we will be able to pay attention to the situation. Interviewer: Do you plan to go to another city? Giuseppe: Yes, we do. Interviewer: In the Midwest? Giuseppe: Yes, our focus is the Midwest because we believe so much in the Midwest. I have lived in New York and the coast, they do their stuff, but to be honest [[it is]] both coasts, and it is a Chicago thing. We believe so much it has to be a Chicago thing and be the best anywhere. Beyond the Chicago situation is the Midwest and I think they have to benefit first from it because the Midwest will help you put [[new]] style and help you [[grow]]. So, for us it is like if we can -- I would rather have New Yorkers come here to shop, have LA people fly here to shop, friends from San Francisco come and shop. Come we will show you and it is not trying to boast but in a funny way we are repaying you back for your hospitality. Come and be.
|
 |
