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DESIGN OF BEHAVIOURAL ENERGY
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DESIGN OF BEHAVIOURAL ENERGY
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With this energy we associate a series of concepts which, guided by the common theme of 'consumption', seem to lead us to a conclusive idea of disappearance: work, transformation, dissipation, entropy, irreversibility and chaos. The principle of conservation - that great constant of the physical universe - does not affect us: as the living beings we conceive ourselves to be, it would seem that we cannot benefit from it.
I therefore prefer to tackle a different angle and deal with a different type of energy, one that cannot be described by means of formulae and calculations: behavioural energy. This too is tied to an idea of continual transformation - conservation, but within a perspective that gives space to a process other than consumption. Behavioural energy is associated with a culture of fluids that came to life 2500 years ago simultaneously in three different places, China, Greece and India. Lao Tze, a contemporary of Confucius, outlined the fundamental concept of Taoism, the law of disorder, opposing Confucius' law of order. Lao Tze discovered how the void, in which life takes place, was important for movement. Heraclitus of Ephesus, the futurist philosopher to whom we owe the concept that 'everything flows', saw the world to be in perpetual movement and in continual transformation. Buddha too, on his death bed, reaffirmed that nothing lasts forever and left a great instrument of comprehension of the world that can help us to spend life, brief as it may be, in a joyful way.
The teachings of these masters would seem to be forgotten by modern culture, a culture in which human intelligence, as Bergson puts it '..feels at ease as long as it is with inert objects, especially solids (...) our logic is the logic of solids (...) our intelligence triumphs in geometry'. Behavioural energy is aimed at privileging, in transformation, not the consumption of things but rather fruition: a process that does not take possession of what it controls and that tries to minimise the dissipation of the construction while maximising the conservation of fluidity. Two cultures, two concepts of energy and two forms of relationship with the world in opposition. One possible conciliation may be attempted by referring to the Buddhist conception of the senses according to which the eighth and final sense is Alaya-Shiki, the storehouse of the senses. As a total and primigenial depository, in the same way that Hima-alaya is the place where snow (Hima) is stored, the Alaya-Shiki conserves all the previous incarnations of each individual, all stages of phylogenesis, including the one in which the living being was a cell and earlier still a molecule, an atom, an energy quantum. The culture of fluids seeks to take possession of this enormous memory, to exploit all of its messages. As far as man and his relationship with objects is concerned, valid indications can be found, without going too far, if we retrace the experiences of nomadic hunters, or rather the condition in which man lived for 200,000 years, a period ten times longer than the subsequent period of man the farmer and 1000 times longer than the current one of man the maker in the industrial civilisation.
For two thousand centuries - and still today in a few minor residual anthropological niches - the nomad lived on the move, using what he needed without putting down any roots, conserving the minimum indispensable, perceiving himself as an event of the world without imposing any kind of order on it. In short, he made use of things through behavioural energy instead of destroying them and imprisoning the energy of matter. If we manage to recover that intelligence, or the culture of fluidity, we will reach deeper levels of the eighth sense, we will pull our arrow back further to make it fly further, we will find again what we have lost and we will learn to live differently: better, one would presume.
Isao Hosoe. Ivrea, 29th October 1998

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THE COMPANY
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ARCH. MARCO GAUDENZI
ING. ISAO HOSOE
NICOLA PARI
EGIZIANO AZZOLINI
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FLUIDA srl is the meaningful name of the company. It makes its debut on the market with the extraordinary innovative and communicative energy of FLUIDA.IT. This is an ambitious project that encompasses and expresses the fusion of different cultures: the Western architectural vision of Marco Gaudenzi - who, not just by chance, has also worked as an industrial designer in the jewellery industry - and the Oriental philosophical approach of Isao Hosoe - who already in his undergraduate thesis on Aerospace Engineering demonstrated a marked interest in pedal-powered transport -.
FLUIDA srl has produced its first small masterpiece in the area of mobility.
FLUIDA.IT is the result of efforts by a close-knit team which, apart from designers, also includes other high level professionals: the artist Eliseo Mattiacci who is responsible for the dynamically styled graphic logo; Egiziano Azzolini who with his experience and competence guarantees the quality of the cycle parts; Nicola Pari who with his passion for high-tech materials proposes the choice of the most advanced components.

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CONTACT US
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Contact FLUIDA.IT sending an e-mail to: fluidasrl@fluida.it

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