Articles and conferences

Collaboration with the firm MiSCeL·LàNia from Barcelona, specialized in production of home and contract accesories (2012)
...

The collaboration between the design studio in Madrid, diez+diez diseño, specialized in product development, and the editor firm DINÀMICA COMPLEMENTS, S.L, with its trademark “MiSCeL·LàNia”, of Barcelona, specialized in the production of home and contract accessories, has become somewhat like a perfect aerial bridge, as much in its creative side as in  production.

This relationship goes on after ten years, always with development of different pieces for the domestic area, without neglecting the possibilities for the contract field, where functionality and simplicity of the designs have always had priority upon any other consideration.

The first product arised from this relationship was the VIRTUAL bookcase: we can conceive it as a true homage towards the BOOK, converting the heavy, unsteady and inaccessible column of volumes which invade tables, floors and different corners of our houses, studios or offices into a light image of magical and poetic character that gives a metaphorical idea of human knowledge accumulation throughout the centuries.

VIRTUAL becomes so not a simple minimalist design, but a real essential piece, removed from fashion or tendencies, achieving to transform a topical –although universal- image into another quite actualized one linked to concepts such as lightness or virtuality.

Its reduced dimensions makes in fact the contents be bigger than the container, hiding it completely to sight. Its versatility for composition, be on columns, isolated, in an aleatory position, etc., this bookcase can adapt itself to those missed spaces left by the traditional ones. It is precisely its constructive simplicity what allows to VIRTUAL to compete in excellent conditions of price with other similar models which have lately appeared in the market.

In the same way, its “esthetical lack”, in contrast with its deep functional character, allows its integration in very different decorations or spaces, since it is the books who are the formal elements of this design.

To the original model of this bookcase, shaped as a column, which previously had been introduced and commercialized by their own creators –they were finalists of the Premios Delta 2001-, two new versions are now added, one slant and other one curved, which allow to get more expressive and impact compositions.

Further on we developed the wall shelf LIGERA, which although not reaching  the invisibility of the previous design, it shows also one of the characteristics of the designers’ work, their essentiality; this shelf becomes unnoticed letting the protagonism to the therein contained or shown, be it in a domestic room or in other spaces, such as in shops or in showrooms. This essentiality is evident in its constructive process, since a simple laser cut of metallic plate and a later right bending process at the rear part of the shelf and getting curved the side bands, without any need of welding or adding whatever.

To both models developed initially,  LIGERA versions Simple and Double, it’s been added recently a Mini version destinated in a more specific way to contain  any kind of audiovisual media support (CD and DVD boxes, BlueRays, etc.)

Next product from this studio MISCeL • LaNia incorporated into its catalog was the BAXTER support, previously under the name of VERSATILE, edited by its own creators, also having been selected in  Delta Awards in 1999.

BAXTER is defined as a piece of contemporary furniture which emerged from a radical conception that is inserted in an innovative way in any residential area. Takes its name from the helpful protagonist from “The Apartment” by Billy Wilder, played by great Jack Lemmon.

BAXTER is presented as a support of minimum dimensions that works as a reference point or temporary storage of all those intermediary elements for our relationship with the object system that surrounds us, between  the outside world as much as with the domestic and domotic most inmediate space, everything from our own place of rest, wait, or work, in there has a place from any  remote control that we usually need in our relationship with the world, to any present and future support of books, magazines, newspapers etc., any agenda, mobile phone, key, video box, CDs, DVDs, glasses and even an object of an uncertain future as it is a pack of cigarettes.

BAXTER could be defined as a real chest of drawers without dravers, where the content, as in the VIRTUAL bookcase, exceeds the limits of the continent.

To the first version of Baxter, the standing one, it’s been added recently  both a desktop version as a wall one,  also we’re currently planning the introduction of new versions, like the bottle holder one, which continue covering the needs under the same premises that VERSATIL was already fulfilling in its beginnings, that means maximum functionality with minimal space occupation.

The latest achievement of this collaboration is the rack TEMPO; this object arises from the analysis of different formalizations that time adopts according to the material supports that we use to quantify and visualize it, from the finding that circular movement is the one that better reflects the cyclical events over time, not forgetting that time also has a linear component of progress. What we did was to combine these two components, circular and linear, an element that finds in the spiral or in the helicoid its definitory geometric shape.

TEMPO becomes this way a graphic manifestation of the passing of months across the clothing and accessories that takes place on it throughout the different seasons.

This is the result, for the time being, of a fertile dialogue between a small publisher that in 35 years of  existence has always bet on design as one of the fundamental and intrinsic values of their catalog, full of serene, balanced and useful pieces, and a design studio that always tried for its creations the same balance as an identity sign, the key to this relationship must be searched  in the renunciation from both parts to use the design concept in its most mediatic way, just  to find on  it a work and communication tool that enables díez+díez diseño’s creativity together with the productive and business MiSCeL·LàNia capacities,  placed to serve the true and fundamental target of their work together, the user.

by díez+díez diseño, book “BRAVOS. Diseño español de vanguardia” (2009)
...

This is how chameleonic Otto described the world situation at the end of the fast-paced and dizzying comedy (or is it better to say cinematographic time bomb?) "One, two, three" of Billy Wilder, and this is how we see the situation of spanish design.

"Why hopeless? Because this is the feeling that we have many times, fortunately not all, when we, designers have to deal with an industry, with a productive fabric, with businessman that keep on  seeing in our work only its cosmetic, media and advertising component,, we are still trying to convince these businessman that design is or should be a value, not added, as so often, with more good intentions that criteria, it is said, but intrinsic to any coherent production process that prides itself  and understands that is immersed in a global reality changing and complex.

Why not serious? Because we understand that the world is getting bigger, the frontiers are diffused and our work can find its realization beyond the geographical limits that our more immediate physical and economic environment mark us, we sincerely believe that Spain can become a exporter of creativity, originality and talent, that spanish designers can get to make their footprint in every place where accurate solutions are needed to solve complex questions, just as Otto did to his future father- in- law.

by Javier Díez, blog MY HELSINKY, www.myhelsinki.fi (2009)
...

On my first and I’m sure not my last visit to Helsinki, I have been able to test things on the land that I already knew, or at least sensed; for example the fact that the tradition of design and Finnish architecture goes far beyond Alvar Aalto and that for some time, they have been escaping from under its shadow, just as naughty grandchildren sneak away from the care of their grandparent, searching for that strange midnight sun, a series of creators, who viewing themselves within tradition, have achieved contemporaneity without traumatic effect.

In addition, and this I must admit has been new for me, I have proved that the Finns are not as cold and distant as, surely influenced by simplified climate prejudices, we may have thought; the simplest warmth, the playful intimacy and also my beloved irony can be glimpsed in many of their designs, providing its refined function, a direct descendant to the historic critical regionalism, a surplus of intimacy, which without going into the histrionics of many objects (and current designers), make of their products, nice .

If all this were not enough, they are also ecological; without understanding ecology as a passing fashion, or sustainability as a circumstantial trend or a mere media label, but in a way that could almost be defined as genetic; a biophilia born of a sensitive look at one's most immediate environment which results in the certainty of its precarious balance, which is but a reflection of our own vulnerability.

For all this, thank you for your visit to Madrid and welcome.

by Javier Díez (2009)
...

Why do I feel attracted to drawings of Fernando?

I hope that the scrutineer search for the answer to this question, that I do to myself motivated by the urgent need of writing these lines, a question until today I had never thought about,  do not distort or interfere from now on the pleasure of disinterested and hedonistic contemplation  I have been enjoying so far, or going beyond, I hope this doesn’t contaminate it with artificial appreciations that shade off  their defined contours, does not tarnish its true value; it is possible, however, that this slow and dissected thought which I intend to do with entomologist lens discovers  nuances, facets or dimensions unnoticed for me.

After reviewing dozens of his creations, I have found the explanation for this fascination, a term which does not hide any hyperbole, but also reveals the exact degree of my appreciation for the work of Fernando; the explanation may be that his work expresses a personal world, not so much by the fact that its stylistic and formal features are characteristic and non-transferable, but because it is wrapped in a temporal coordinates that are of its own, this temporal quality that I speak of makes you feel immersed in a quiet, melodious, suspended time,  but not a slow down time  as a sequence in slow motion in a Peckinpah style.

What happens instead is that we see ourselves immersed in scenes of a world where that  slowness is the  defining of a self temporal event. Looking to an illustration of Fernando, suddenly, our time, the real one, daily life, the one that is guided by an agenda, timetables,  and hurries goes to a second term,  immediately, we see ourselves trapped in coordinates whose rhythm allows meditation, slow contemplation, the pure pleasure of caressing with our eyes the beauty of some images, all without the bad conscience that we are wasting time, when looking at one of his pin-ups, desire becomes placid, avoiding the immediate emergencies, watching one of his illustrations that goes with an opinion article, however it is linked to the most rabid current affairs, it  allows us to think, meditate on what we read, while I contemplate some of his illustrations I currently  have in my study, the frame is transformed into a window with views to that imaginary planet, also that real, where the silent tick tock of the chronometer expands its way until the immobility of the figures is nothing  but a dynamic condensation where past, present and future converge.

Well, I can only be grateful for the invitation to write this article because it has allowed me to discover a universe where I could find a momentary refuge in this times of distress, uncertainties and fruitful crisis, and then return with the soul serene and the security that beauty exists.

Thanks Fernando.

by Javier Díez, Correspondence column (EL PAÍS, on January 20, 2007)
...

As designer, I think that our daily work goes far beyond of the formalization of new graphical realities, of the conformation of new, and in many insignificant cases, products of consumption, of the mere aesthetic definition of spaces; as professionals compromised with the society in whom we develop our trade we must evaluate critically the actions that from our own activity are generated, as well as the inadequate use that for your their) part our clients do.

For which reason, from a point of view fundamental, I want to denounce the politically incorrect use that Underground of Madrid is doing in the signs of certain lobbies; on the accesses of the zones destined to the entrance and exit of users with different impediments or conditioners we can see four pictograms; One of them is the universally destined to the handicapped persons; other three correspond, first to a person with a car of the purchase, other one accompanying a child and the third one with a baby cart; oddly these three figures represent women.

I believe that of course the premeditation at the moment of designing this informative panel has not been to transmit sexist values; what I think is that the design, one of which fundamental components it is the communication, can and must be used as vehicle of values and messages that enrich and improve our societies.

Are we before a lost opportunity to use the design as transmitter of the above mentioned values? Let's wait that not!

Dissertation of Javier Díez inside the round table Two ride together, CRAFTS AND DESIGN: A CHALLENGE AN OPPORTUNITY, Sevilla (2007)
...

First of all I want to clarify that I am neither a theoretician nor a specialist in crafts; I am an industrial designer that from the experience that in díez+díez diseño, the studio that I share with my brother, we have had in relation to this field we have decided to define ourselves professionally as designers of product, to be able with it to cover the needs and requirements that a sector like the craftsman can have towards ours work

I am sure that the meeting between design and crafts not only is possible but even necessary, so necessary and possible as design and industry; everything will depend fundamentally on the predisposition of both parts to the agreement, to the meeting without prejudices between both professionals.

There exist in addition factors or specific circumstances that favor the above mentioned collaboration with regard to the area of the serial production.

First the possibility of the incorporation to its production of series of product “of design” with greater flexibility that it could do the industry; this is, it is possible the maintenance of a production of traditional pieces and simultaneously the incorporation of innovative products, and even to change with certain rapidity the percentage of both offers.

Another possibility that the craftsman has is, once assumed the commercial exposition of the fashionable factors and trend, it of incorporating punctual modifications, for example in questions of colors, styles, etc., etc.

These two factors allow the maintenance and the conservation of techniques and specific styles passed down from generation to generation, or typical of certain geographical areas, and simultaneously the approximation of the product craftsman to a new public that, without identifying with the traditional, nearby formulations in many cases to the pure ethnography, if craftsman values the differentiating factors with regard to the product opposite to the industrial product

One more possibility of meeting between design and crafts comes given by the offer that the craftsman can do in the domain of very specific and controlled technologies or techniques: hereby he is the craftsman the one that appears as supplier of a service towards the designer, who opposite to the inability to develop certain ideas in collaboration with the industry, decides to put in production small series or limited editions of this project.

In relation with these possibilities of meeting between designer and craftsman arises the problematic of the remuneration to the first one for his services; existing basically two types of contractual relation, for total quantity or for royalties, in both cases an impossibility of agreement can arise, on the one hand for not being acceptable on the part of the craftsman of the habitual honorarium of the designer of product, and for other one because the payment of the royalties derived from the marketing of the product craftsman does not make it attractive for the designer.

Before this dilemma, a possibility that I see is that he is the craftsman the one that assume to a certain extent and within his limitations the role of designer of his own product; this certainly across courses, seminars and the accomplishment of workshops that allow him to acquire the basic project knowledge to develop his activity; This possibility count on the advantage of which the craftsman dominates and knows in depth the technologies, limitations and material possibilities of his own trade and therefore the assumption of the designer's role would limit itself basically to the acquisition of a methodology of work (test / mistake, analysis of relation between parts and everything, choice proposed, etc., etc.) as well as the domain of a series of computer tools (programs of virtual simulation, photographic retouch, etc., etc.) that facilitate the above mentioned task to him.

The conclusion therefore to of being that it exists a point of meeting between the crafts and the design, into which this one turns, in its different specializations (of product, graph, web, etc.), in a tool that facilitates that one adapts and inserts without problems in a dynamic and changeable scene in which different dialectical clashes (tradition / modernity, local / global, artistic object / useful object) have hold.

by Javier Díez, “Design for everyone in Urbanism and Construction”. Cuenca (2007)
...

The ideas and offers that I am going to explain later arise not from the analysis of theoretical approaches, but from an eminently practical perspective arisen from the daily experience that from díez+díez diseño, the studio of which I form a part, we have developed in the last years; To this professional labor inside the area of the design of product we prefer a fundamental premise, and it is that we are buyers, consumers and users before that professional of the design, and therefore we do not understand the fruit of our work untied from personal approaches  marked for certain determining social, even in the development of products of private consumption; We have very clear that the final result of our work like designers is destined to these buyers and final users, over our first clients, this is, the manufacturers, and even the clients of these (retailers, prescriptors, etc, etc.) and certainly to the margin of modes or trends.

Before speaking about our work, much more modest to a dimensional level that of town planners or architects, but much more near precisely for this employment of the human scale, and of some concrete examples of the same one destined to the public space, I want to do a brief description of the area in which the result of the above mentioned labor registers to the citizen.

This public space, fundamentally urban, acquires today per today a worrying condition, especially in the big cities; it is in them where the essence of the public thing and for extension of the common thing and if we want to go beyond, of the democratic thing, simply, endangered; Before the threat of the invasive incontinence of the traffic rolled of private use, the speculative anxieties and ravenous of the real-estate sector or the simple disability of the administrations to define or foment a model of city, and going beyond, a model of housing, according to the new conditions and challenges, without repeating nineteenth-century formula and patterns of bourgeois city.

This the lamentable scene the one that the citizen, I repeat, fundamentally urban, finds to develop an offer of meeting, of leisure, of enjoyment beyond the private and intimate space of the domestic thing; It is this scene saturated of cacophonies orchestrated by the traffic, the consumerism, the hurry, the incoherence of the elements that should articulate the above mentioned space, as it are the street, the square(seat), the park, etc., etc., What takes the citizen to the weekend stampede and knocked down in search of the horizons virgins and not urbanized, still, that provides the sea to him, to looking for refuge in the big malls that provide an authentic leisure of greenhouse to us, a leisure time where from the lighting up to the temperature, passing  for the safety or the tours are totally guaranteed, or the dip in the historicist or geographical zapping or geographical that provide the theme parks to us.

We should understand that this public space, which definitively is used privately or at least individually, already is by means of the walk, of the reading, etc., it is turning into the area of socialization and of relation for big sectors of the population (old people, immigrants, young people, poor ...) that do of the street his living-room, and even greatly more, of being.

It is this spatial frame the fact that we are when we receive the order of developing our work for the public area and more concretely in what has come to name a urban furniture; it is in this case when these premises of commitment, ethical if it is wanted, about that I have spoken previously meet increased; This is like that since whereas for the product design of private or personal consumption, we presuppose or at least we want to think about a critical, responsible and free buyer, who chooses our designs depending on needs or pondered affinities, in the public area the objects of our work are, for saying it somehow, "imposed" to the user, already be for a public administration or a private promoter; Before this situation the only possible choice on the part of the citizen is it of using or the not above mentioned equipments, of using certain spaces attending to the "furnishing" of the same ones; we should not forget that the above mentioned equipments are a public service more to the citizen and not a simple decorative element destined to fill the horror vacui with our cities or simply to masking their faults; Of the same way the citizen should get used to considering the above mentioned service at the moment of evaluating the management of the public corresponding administrations.

Hereby, on having faced a new order of urban furniture our first consideration repeated with the time and systematized with a view to the manufacturers that they need of our services, is it of which before the multitude of potential users and uses of this furniture it is practically impossible to cover the needs of all of them in each of the developed products; What we claim is to be covering different ergonomic needs, proxemics, etc, etc, with that to be creating a sort of catalogue that allows, to the public administrations, to provide fundamentally to the urban space of a wide range of possibilities of use; What we would recommend to a town hall at the moment of contracting the supply of street furniture for example of a great park would be the "zoning" of the same one and therefore the utilization of from elements even of different manufacturers, understanding the diversity of activities that develop in the same one, but simultaneously supporting the balance that allows not to turn our cities into real catalogues of urban furniture.

As particular example to explain this exposition approach I pass to present the program of urban furniture Walden; this project arises from the order realized by a company, Ecoralia dedicated to the marketing product for the construction, made from products from the recycling; the proposed aim was the development of urban furniture, fundamentally benches, using specifically the called one Syntal; The limitations derived from the employment of this material, only obtained by extrusion, joined the prejudices as for the term "design" on the part of the client, as well as the both budgetary and productive limitations of the above mentioned client, they led us to proposing the creation of the most wide and versatile possible program. The result is a catalogue of 21 offers type, besides the incorporation of what we name a free typology in the one that is the client (administration, promoter) the one that chooses the wished configuration, with elements of up to 5,6m. of length. What Walden achieves is to provide punctual solutions to a wide range of needs of seat that there could need the user of the public space.

Another example developed in our studio is the bollard Haiku, produced by the company taken root in Ciudad Real, Tecnología & Diseño Cabanes; The aim that we proposed ourselves at the moment of defining this one we might say antipathetic element it was to create an object that placed in the thoroughfare was not perceived only as a coercive, round, totalitarian and limiter object, but  creating a fluid, agreeable both visual and tactile element, which was favoring that before the possible and inevitable occasional shock between bollard and pedestrian, was minimizing the possibility of fall or the meeting by edges and aggressive vertexes.

Finally I want to centre in two on examples that explain clearly as the process of design it does not remain totally closed as soon as the designer has fulfilled his mission, but he is any of the intermediaries that the meeting product and user facilitate, and even the latter, responsible to some degree, for better OR worse of the efficiency of the above mentioned product.

First of all I want to present the pernicious use that RENFE does, in I make concrete on the station of Atocha, of a magnificent design; it is a question of the underutilization, with the aggravating factor of evil ecological example, of a few containers of litter which design identifies perfectly the separation of residues for categories but which mission is annulled by the manager of this element when being used an only bag of collection.

Another example is that of a warning panel used in the lobbies of some stations of the Underground of Madrid. Later I reproduce the text that published in the newspaper EL PAIS in relation to this matter.

by Javier Díez, Manifesto in support of the strike in the bookshop Fuentetaja. Madrid (2007)
...

Some years ago I discovered that to the onanistic pleasure of the reading, could be added by the same price an act that was promoting the perniciously pleasant effects of the first one, with the added stimulant of having to be realized necessarily in company; it´s about speaking about books and readings.

A few years later I discovered that this pleasure could reach a superlative still major degree, I want to think that even sinful, when your speaker was your bookseller of head-board; He was which among the marasmus of innovations was recommending to you this book that seemed to be written expressly for you, which was speaking to you about books for coming and that your you were tasting in advance, which with four dispersed notes taken to the flight knew for what you were looking, which could recommend to you, with an erudite touch for that in any case your you were grateful eternally, this exact and preferable edition; This bookseller with whom you can pass chatting the whole evening, preferably rainy, though you go out of the bookshop with the empty hands, and nevertheless a bit more wise; he is this bookseller to whom you go anxious with the hope to plunder him in I resign of a discovery that you have realized and he does not know.

Unfortunately this figure of the small bookseller is endangered to the detriment of the personnel of the big supermarkets of the book whom or you go direct with the exact information of for what you look or forget to find it, and certainly to them it does not happen you to give conversation, much less to receive it, because it is not stipulated in his collective agreement.

For all that it seems to me simply outrageous the situation of Íñigo, Amelia and Carlos, three booksellers of the bookshop of Madrid Fuentetaja, who have had the crazy occurrence of dusting words as strike, solidarity, which somebody will think imported from the Polish, and dignity, which many people will not even know nor to spell.

And all this for trying to refuse desperate to the experience of seeing into what one can turn a historical bookshop, redoubt of progressive and alive culture, when it falls into the hands of personages who see in this one slides it cosmetic to its real estate business, and suffer, materialized in unworthy salaries, the contempt of his valuable daily work facing the public.

I believe that or we react already or we will not have right to complain the day in which the culture has turned into a simple support for a code of bars.

Only a last observation, bookseller is that one that sells books, not necessarily that one that possesses a bookshop.

by Javier Díez, Second Day of Design and Communication, Madrid (2006)
...

The public space

Before speaking about the object of my work as industrial designer, in this case centering on the urban furniture, I want to realize an analysis of the area in which the above mentioned object will become sense, this is, in the public space.

This public space, fundamentally urban, acquires today per today a worrying condition, especially in the big cities; it is in them where the essence of the public thing and for extension of the common thing and if we want to go beyond, of the democratic thing, simply, endangered; Before the threat of the invasive incontinence of the traffic rolled of private use, the speculative anxieties and ravenous of the real-estate sector or the simple disability of the administrations to define or foment a model of city, and going beyond, a model of housing, according to the new conditions and challenges, without repeating nineteenth-century formula and patterns of bourgeois city.

This the lamentable scene the one that the citizen, I repeat, fundamentally urban, finds to develop an offer of meeting, of leisure, of enjoyment beyond the private and intimate space of the domestic thing; It is this scene saturated of cacophonies orchestrated by the traffic, the consumerism, the hurry, the incoherence of the elements that should articulate the above mentioned space, as it are the street, the square(seat), the park, etc., etc., What takes the citizen to the weekend stampede and knocked down in search of the horizons virgins and not urbanized, still, that provides the sea to him, to looking for refuge in the big malls that provide an authentic leisure of greenhouse to us, a leisure time where from the lighting up to the temperature, passing  for the safety or the tours are totally guaranteed, or the dip in the historicist or geographical zapping or geographical that provide the theme parks to us.

From this situation, the conscious citizen, should begin to consider, and therefore to demanding, though in a rather ingenuous way, as he does with a worthy housing, a worthy public space, and in the same way as no worker is deprived of enjoying his free time, he have not also to be deprived of the right to the enjoyment of his free space.

Because we must realize that this public space, which definitively is used privately or at least individually, already is by means of the walk, of the reading, etc., it is turning into the area of socialization and of relation for big sectors of the population (old people, immigrants, young people, poor ...) that do of the street his living-room, and even greatly more, of being.

Urban elements

Established the physical frame and his current circumstances, it is when I go on to analyze our task, I speak in plural for consider me to be a member of a stud¡o, díez+díez diseño, at the moment of approaching the definition of an element of urban furniture.

The first determining factor that guides our work is to consider the urban furniture as an "imposed” product, since the final user does not have the possibility of choice and use of the same one, beyond the choice of a certain space (park, square, street) determined by his "furnished"; It does that in these works we add a supplementary dose of responsibility, opposite to other designs, for example the destined ones for the domestic area, where we count, do not be if in an ingenuous enough way, with the critical factor of the purchaser/user.

Overcome or, rather, assimilated this level of autoexigency, our aim, beyond the consideration of factors of comfort, maintenance, safety, etc, that give each other made, is to generate objects that do not add to this polyphonic cacophony about that I have spoken previously.

For it, and assuming that any object is a continent of messages, of both implicit and explicit connotations, of that somehow they us mean to us themselves in the choice or rejection, and use that of them we do, our intention is that our designs speak, say things, but in a very, very low voice, practically in a whisper, in such a way that the one who should want to listen to them should have to approach of a way premeditated to them.

Habitually when we project, we come using a concept that we have named transversality; for transversality, we understand this game of crossing, interferences, and short circuits between concepts from diverse fields as the art, the literature and that serve us to articulate this soul, this conceptual framework about which we develop later the process of formal definition of design.

A silent bench

I will focus my attention on the concrete case of the bank Godot; this one arose from the auto order of generating an element of urban furniture that could join in a completely coherent and natural way to the scenery of the known theatrical work "Waiting for Godot" the one that takes its name.

Basing on the description that the existentialist author Samuel Beckett does from the above mentioned scenery to the beginning of the first act: Road in the Field, with Tree, we began our project work; from the reading of the work and of the approximation to the figure and the thought of his creator, we were generating a series of line of thinking that little by little were opting by two possible lines of work; On one hand we find a possible route of performance in the bipolar relation, and pivoting about the centrality defined by the tree, between both prominent figures protagonists, Vladimir and Estragon, and for other one the one that was coming from the concept of wait; the vectorial merger of both conceptual lines, in turn resultant of the studding of others as duality, slowness, uprightness, node, silence, etc. generated something like what in the world of the shaped one is known as soul; said soul, realized generally in wire or metallic rod, acting as vertebral structure allows modeling in clay of models which structure would be impossible using only the above mentioned material.

This process of conceptual and nominalist decantation turns into an authentic tool, which helps us to reject automatically those formal formulations that in its confrontation with the above mentioned framework they do not find a connection or direct justification with that one; For saying it otherwise, they are the concepts those that select the forms to using in the formal definition of our designs, or definitively, that for us is previous and fundamental the idea to the form.

The synthesized description that I have just done of the process of creation of the bench Godot has a justification; I want to make see that we are not interested in doing patent, especially in the urban area, for the conditions of imposition about which I have spoken previously, the whole conceptual content that it encloses, We are not interested that our designs shout from the roof tops the ideological, philosophical or simply artistic connotations that they could contain.

We claim that our designs expire first of all the function for the one that they were created, and if later to this accomplished mission someone wants to see in them " something more " one has to take the trouble to approach, because our designs whisper, they whisper very quietly.

Catalyst of space and time

Godot is not born of the consideration of the bench as element that rules and modulates the reticulated itinerary what might be the eventful tour along the rural landscape in the style of Walser or of the urban area like the traditional flâneur already be in Hessel's anarchic slope or in methodical and analytical of Benjamin.

Godot arises from the consideration of every bench as generator of a spatial and landscape isolated centrality which it converts to every seat in what it might define as an installation ad hoc; with Godot we create spaces of quietude; to the Godot it does not come near, of the Godot it does not go away, in the Godot one is, one is.

The whole philosophy that has guided Godot's creation departs from the concept of the wait, but not from a fenced wait limited by one before or one later; it is a question of an interior wait, a state of suspension of the traffic and the daily dizziness.

It was the existence of this tree isolated ("Road in the field, with tree") the one that from the first moments, and reinforcing the nodose and not linear concept of the disposition of the bench that we wanted, began to draw Godot; The result is a simple prism divided in two pieces, perforated each of them in one of its ends for a semicircular hollow that they embrace, on having joined, to an element so atemporal since as it is the tree, symbol of permanency; We create definitively a slow bench, a bench that turns about the slow shade that day after day projects rhythmical around it; the idea of slowness meets reinforced by the choice of the concrete as material for its accomplishment and that in turn turns Godot into pedestal, in basement of what might be an installation of land-art where the protagonist is the tree.

We conceive the urban space as an area of chance meetings, of awaited appointments, of eventful thoughts found without searching; a space like viewing-point of past times and simultaneously daily, or of watchtower of dreams projected in the horizon; a place where to share loneliness or to explore playful discoveries; An environment with islands of quietude for the rest of the wayfarer or of the reader, another traveler definitively. We want squares where they find the newcomers and streets where those that already were they discover other worlds. For it we think that Godot is a slow bench, tied intimately to an element as timeless as it is the tree, to which shade we wait, there is not known well to whom or what, to others, to her, to him, to us themselves?

…the idea of slowness meets reinforced by the choice of the concrete as material for its accomplishment and that it turns Godot into a pedestal, into basement of what might be an installation of land-art where the protagonist is the tree, to which shade we wait, there is not known well to whom or what, to others, to her, to him, to us themselves?