analecta romana instituti danici xxxiv - Det Danske Institut i Rom

20 Sisse Tanderuption and empathy. Some forms appeal moreto the user than other forms, which may besocially and culturally determined. Furthermoredesign first becomes memory designover time. Memory is bonded with storytelling. Both in the way the designer tellsa story through his design and in the waythe user recognizes the story in his perceptionof design. Memory design first requiresrecognition and then cognition. Recognitionis emotional whereas cognition is based onan experience, which is both culturally andnon-culturally founded.In a globalizing world people may worrythat differences in national identity are neutralized.The present article emanates fromthe assumption that there, in fact, are nationaldifferences in the use of the concept ofmemory in design.In the following analyses of design objectsfrom the Italian company Alessi andthe Danish company Georg Jensen I will investigatethe use of the memory theme in design.Italian design practice is characterizedby a tradition of involving memory categoriesfrom Italian history, philosophy, art andtradition in the design process. Alessi’s motivationfor involving the concept of memoryis that it adds a cultural dimension to the designobjects, enabling the objects to make anidentity-forming impact. Compared to this,Danish and Scandinavian design practicehas traditionally focused on form and functionwith frequent references to the formsFig. 1. Humberto and Fernado Campana, blow-up citrus basket 2004 (photo: Alessi).