Being Franco Raggi

But who is Franco Raggi really? What defines him, if his work ranges from small to large scale, from set designs for performances and theatrical shows to museum installations? In the film, Raggi-the I-narrator and at the same time the film's protagonist-tells his story in direct, defining himself by his “ways of doing.” A doing that is a mode of construction of the project, but also of thought and self. The film is thus divided into chapters, organized around “ways of doing,” a series of procedures based on paradox, irony, and creative juxtaposition, through which Raggi playfully explores the theme of design and planning. “Making stories, making faces, making too much, making theft....” In the story, “ways of doing” are abstracted from their original context and transposed to everyday situations, a common thread to introduce themes and design works that arise from these insights: the “Flûte” lamp for FontanaArte (1999), one of the many collections designed for the lighting company; the “Nobrocca” for Terreblu (2003); the ‘Vasovasi’ collection for Danese (2004); the “Scongiuri” candelabra for Cyprus (2014); and designs for Barovier&Toso, Cappellini, Artemide, Luceplan, and Poltronova.