Then there was Rem Koolhaas`s documentary on Nigerian megalopolis Lagos, which ignored the rough reality of ungoverned urbanization and focused on the aesthetics, the final verdict being that Lagos`s mechanisms are super interesting. In 2014, at Salone del Mobile in Milano megabrand Cappellini presented its products as part of an installation inspired by the fluidity and individuality of South African villages : ”Cap Town is an array of form and color, highlighting the fluid and unique architectures of villages in the southern hemisphere. Raw and rough colors contrast with the traditional canons of aesthetics and beauty, against the vision of a world that has been beautified at all costs while leaving room for individual choices.”

It is therefore obvious that the design world has developed a certain boredom with the polished forms and is now seduced by the rough, the spontaneous and the imperfect, which synchronizes very well with another strong trend we`ve been witnessing, the return of the crafts. In this particular case, a possible explanation might be the growing gap between social classes and the remoteness of these harsh realities, which envelops the whole situation in an exotic aura. While getting inspiration from the poorer communities, studying their way of life and translating it in design objects might draw attention to some social problems (although the value of these pieces in the field of critical design is questionable), and is certainly better than destroying their habitat because of its incredible filthiness, I still think donating a percent of the profits resulting from the sale of a 3000 euro chair could have been a better approach, but who am I to judge?