Two people meet in an abandoned countryside in the shade of an olive tree, or perhaps in the shadow of a rusty tin roof. They are a farmer and a lawyer. The farmer needs help and the lawyer works as a volunteer for an organisation that rehabilitates land confiscated from the mafias and advises the farmer on how to start a path to legality.

This scene is fictional, from my imagination. But it is a clear image, which emerged in my mind as I was working on a project for a mobile pavilion able to host this kind of activity in southern Italy, imagining this kind of encounter and this kind of relationship between two courageous men or women rebelling against their destiny.

I reflected on the symbolic form of a chair, set in this environment, that I had to somehow design and where those two men or those two women were to meet.

It is in this environment that the innocent chair was born, and along with it this ten-object manifesto, as a symbolic way of rebelling against destiny. A symbolic way of not accepting the world as it is, but of transforming that small part of it that is in our hands, by constructing in a simple, robust and direct way – maybe as in a deserted landscape – ten objects which tell stories of life, freedom and design. This is understood here as an impetus to reject the reality of the world and then transform it.