TATO was conceived to do things well.
This is what it’s dealing with. There’s a deep knowledge arising from the practice. Doing things well for a company producing lighting design and furnishing items, means to express a way to be and a precise attitude. It means to purposely design in an understated way a personal idea of what freedom is, a personal idea of new, of something you don’t look for, because you live with it every day.
TATO’s design concept results in a new economic and cultural scenario and in a future-oriented tradition of manual dexterity, knowledge of gestures and materials, handicrafts. All those elements that make Italy well-known in the world. There is no industry that can do without handicrafts.
The constant manual working the material and the forms it can take, the surprise and the intimate familiarity deriving from it, gives us back a number of objects representing characters, talking to us within an architecture, feeling always comfortable and behaving. These objects can keep their value over time.
A good design begins with people. TATO surrounds itself with people who are similar but also with very different ones. Not only architects and designers but a large intellectual group aiming to research and experiment. Particularly significant are those relationship with the local handicrafts in the area where the company was born and the international relationship, helping to spread its ideas. Listening to people is crucial. More and more people, sophisticated people, looking for history and culture in the things they choose.
TATO takes culture into particular account and is engaged in many processes. TATO likes to dig out from history those objects that are produced today but belong to our recent past or just to our past.
It's not just about Good Design
There is a special quality in some design firms, which is considering the aesthetical purpose as their basic foundation, also from an economic point of view. That’s because cultural contents are more and more an expression of people’s choices.
TATO’s proposal is a newly structured and poetic model where the visual research goes together with the industrial experimentation, the philology of materials and techniques, both new and old, the discovery of new production geographies in order to build a catalogue in which the content stimulus and the edition methods are more privileged than the manufacturing limitations and the assembly line repetitiveness.
It’s not just about good design: it’s about a more complex vision of the world, of things and of living, it’s about an attitude that brings together a network of knowledge including the hand-made and machine-made and that is related with the more anthropological aspects of craftsmanship and industry.
Choosing good authors is necessary to transfer the art phenomenology in the object and to make aesthetic and functional information be coincident. It’s important to practice an intense professional and affective relationship between client, designer and company that belongs to the culture of the project.
So the object becomes a part of a vast and very articulate narrative program that, in pursuing a personal image, redefines the relationship between industrial production and knowledge production.