The son of an aeronautical engineer, Phillip Starck studied at the École Camondo in Paris. Starck's concept of democratic design led him to focus on mass-produced consumer goods rather than one-off pieces, seeking ways to reduce cost and improve quality in mass-market goods. The designs brought him to the attention of Pierre Cardin who offered him a job as artistic director of his publishing house. Starck's output expanded to include furniture, decoration, architecture, street furniture, industry (wind turbines, photo booths), bathroom fittings, kitchens, floor and wall coverings, lighting, domestic appliances, office equipment such as staplers, utensils (including a juice squeezer and a toothbrush), tableware, clothing, accessories (shoes, eyewear, luggage, watches) toys, glassware (perfume bottles, mirrors), graphic design and publishing, foods including pasta, and vehicles for land, sea, air and space. The buildings he designed in Japan, starting in 1989, went against the grain of traditional forms. The first, Nani Nani, in Tokyo, is an anthropomorphic structure, clad in a living material that evolves over time. The thesis being: design should take its place within the environment but without impinging on it; an object must serve its context and become part of it.
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