The last accomplishments are carried out and we are informed of the reference team to which we may refer in case of administrative, technical and organisational matters. We are instructed on the structure of the master and we’re given the courses timetable.

After some time to socialize and to introduce ourselves, the first lesson is started.

The theoretical basic unit and the first fundamental subject, theory and history of outfitting, are set forth. The lessons are held by professor Mario Mastropietro, architect, expert and lover of this subject and a great speaker: he opens up with a really interesting survey made by images; we feel like travelling through the history of this discipline and we get an immediate curiosity impulse which guides the dialogue with the teacher during the projection.

The design choices are then theoretically contextualized and discussed starting from the observation of their realization. We are pushed into carefully and critically observation, getting over the academic habit of an abstract reception of factual knowledge: theory is proposed and carried out as a tool to understand the basis of design procedures and practice.

First we examine the Triennale’s structure to understand its fitting layout in the light of its components and its tools. It’s very important to look at the outfitting organisational difficulties “from the inside”, because the final effect on the visitor is that the visual impact is mediated by the rational perception of the reasons behind the design choices. Thanks to this exercise, we learn how to conceive an initial comparison with the feasibility issues of an outfitting in relation to the structure and plant equipment it is provided with.

The lesson is held by a young professional from the Noorda study who, starting from the comment of some works proposed or carried out by the study, discloses the inner mechanisms linking graphic design to a more general communication project of the event or brand image.

The sign has essential importance as well as the connection that its meaning sets between the process of general design and general graphic design, and the analysis of this relation compared to the different scale ratios affecting the design stage acquires special importance.

We are particularly surprised by the mystery which ties a sign, seemingly fortuitous, to the complex recalls and concept associations from which it may have risen.

Thanks to her almost theatrical mastery she could tell art in an extremely communicative and interactive way, helping us to follow that continuous thread which runs through it from the first anticipations of the modern avant-gardes up to the most daring expression of contemporary style. We were all very sorry when she finished her lessons for us…we look forward to seeing her again.

The consideration on the interpretation of the museum typology as regards the contents and the social function it aims at expressing is exceptional; the interpretation of this typology according to the various periods and places has been examined in depth considering its adaptation to the historical evolution of its content par excellence: art. The possibility of comparing the knowledge acquired during the history of art classes with the remarks on the development of museum typology has been of great importance.

This is a very innovative lesson on the Expo typology, held by Angelo Jelmini who first represents the fascination recalled by this typology according to its design approach through his selection of images; then he comments some recent exhibitions according to his critical opinion thus giving us the chance of viewing it from an expert’s angle

Paolo Lucchetta, architect, presents us this sector. Since the application field is not a common knowledge as it is not usually studied in-depth, the class arouses great interest. In this case, the presentation by images is skilfully supported by rudiments of commercial strategy that may guide us in the comprehension of projects in relation of brand communication requirements, but also with respect to logistic and fitting out solutions involved by production and trading conditions of companies and distributors.

This time the approach is different: we still work by images but our teacher focuses on the representation of the historical evolution in the application of graphic design with respect to the various exhibition typologies.

The first classes are held by Alberto Pasetti, architect. The approach focuses on the transfer of basic information to read the lighting systems project and set them within the general fitting out framework. The starting point is represented by technical-scientific elements, though the following lessons will foresee a logical observation of one project realised by the teacher, who will explain us in detail the reasons of his choices. It was important to make clear that the project choices, besides technically meeting the visual comfort requirements, can – and yet must be – a tool for the “artistic” interpretation of the object they refer to. Light can work like a sort of framing suggesting specific points of view to the observer.

All the architecture students panicked before a white sheet and then felt that unexpected thrill of the first sketch on the white.. these old feelings give a more conscious touch to the primary sense of the creative process: the importance of the sign as first expression of the project idea.

They briefly introduce us their courses without expatiating too much: this is a wrongfooting approach..the launch of the theme is immediate..we’ll design an isle booth for an exhibition ..a few restraints..sizes and the fashion sector. We have thirty minutes to concentrate and to look for staff, then we should communicate the chosen designer. We have a huge range of possibilities.. each one digs up memories and personal suggestions to orient the choice; freedom is the hardest exercise, but time is short and a solution comes out from the initial confusion as if by magic. Half an hour has passed..a few minutes to tell the choice....then hush! design in progress!! Like in a real study, too many words are not needed, way to our ideas: a new freedom practice, harder and harder!! The lesson draws to a close, our teachers join us to discuss our hypotheses. Adjustments are made on a personal basis, though participation is unanimous. It’s a very satisfactory experience, the comparison is challenging and it multiplies the possibility of learning and application. Our teachers are really helpful and do not discuss the heart of the idea, they rather put their skills at disposal in order to lead us through the achievement of our work, showing they’re able to decline at best their lesson of freedom.

The lesson starts with a very well affected introduction striving to sort out the peculiar aspects concerning the work of a designer within the vast range of exhibition trends.

It’s utterly important to look into this aspect to better understand the meaning of the logistic and communication choices of an exhibition by focusing on the business strategy. It’s also of great importance to penetrate the excited and fully organizational atmosphere behind the scenes of the exhibition design, which just takes the shape of a complex marketing process phase where many characters and relations intervene.

This time a totally different approach is applied compared to the practical lesson on trade fairs: we are actually asked to start from a large scale analysis of an urban area to depict its intervention area. Over the course, we are guided by our teachers, we start from the study of an area to draw up a general redevelopment master plan to be generally adopted and where we have identified possible functions to be introduced in the area, which then actually guided the character of the defined interventions, yet to be developed.

The teacher’s choice is unusual, he invites us to work together on a special theme: reconstruction. Starting from the documents provided this practical lesson firstly aims at defining the more accurate dimensions of the space to be reconstructed through proportions obtained from drawings and pictures; then we’ll have to assume, up to the detailed scale, the material structure which the projects elements will be made of. Finally our individual task is to develop the communication aspect of this operation on a support encasing the reconstruction intervention.

By means of a special handbook made by him to make professional practice easier, he can offer us an exhaustive summary of the current regulations on this subject over a series of lessons, through a projection presentation to be commented together to raise all the doubts on such a delicate but yet fundamental theme.

when Paolo Lucchetta, architect, launches his new subject at the end of a splendid lesson where he underlines the very strict relation between logistic choice and business strategy: he asks to consider a potentially interesting place for a business offer and then to define this place and the operators eventually interested, and finally to design the outfitting of such space.

In any case we meet our commitments…hope dies last ..we’ll see what will come out!! By now, we console ourselves with the thought we only have one lesson left: the one devoted to events, by Karim Azzabi and Ico Migliore, architects. Much to our surprise, we discover that there are still four practical lessons, two per teacher. The aim is to work on the rapid communication of an idea conceived within one lesson only and the reason-why is to try to get used to the unforeseeable and strict rhythm of this professional activity. Perhaps – or rather probably – we’re not ready..but we’ll know that at the revision..for the moment the idea is conceived, its realization in terms of work done still is unknown… In the meantime we enjoy the presentation of the delightful works of each one of our teachers !

Professor Pasetti has been followed by professor Francesco Murano, a very likeable architect, reasonably in love with light, which is the real subject of form. His lessons are brilliant..we always discover a new mechanism…and his contribution is essential when applied to our practical lessons..so he devotes a lesson to our doubts and problems directly linked to our designs.

She focuses on providing us with a graphic design method to be applied to different results of the practical lessons. In particular we are invited to design, independently on the meaning of contents, a flexible graphic scheme to be adapted to the variable shape and dimensions of the contents themselves, always keeping the sign of the logical plant which determined it. We are asked to re-think the concept of graphic scheme, which is not only a container, but also a frame and a composition, the strong point of communication and its design can be the opportunity of experiencing unprecedented presentations helping to catch the eye of the observer as added value to the project.

The result is still uncertain..ideas have been worked out, though processing is still immature and confused, however our teachers seem trustful and someone even seems satisfied, they reassure us and give us their addresses underlining their availability to clear up our doubts by e-mail..and we can keep on working quietly.

Such a great teacher, moved to pity by the amount of work we have to do, exempted us from a further compulsory exercise, while he entertained us with fascinating lessons and made us think about the single exhibition elements, analysing them in all their aspects in order to return a harmonious and coherent image of the design choices from the functional and constructional point of view. These first-rate lessons are greatly appreciated as they give us an unique chance, for most of us, university students: examining an element up to its final detail with the aim of disclosing during the step-up process, together with the operation mechanism, the design essence of the element itself to be actually found in the indissoluble balance between shape and function, expressed by the construction detail.

Today’s lesson is worth to be mentioned as it not only relates to the presentation of an element for the exam, but above all it concerns its guided design on a common session which has evolved the active and attentive participation of everybody. It has been proposed to think of designing an exhibition element for a very realistic case shown by the teacher, who at the end of the lesson, due to the mutual satisfaction , invited us to optionally process an executive design of our proposal…we’re all very happy to accept his invitation!