Italy 2012: Claudio Cavicchi's Shapes
One of the highlights of my trip to Italy each year is my afternoon with Claudio Cavicchi, his wife Daniela and his good friend (and occasional translator) Gianfranco Musoni. There area handful of reasons for this, but it boils down to two things: Claudio's pipes and Daniela's cooking. Daniela is as masterful in the kitchen as Claudio is in his workshop, but since this is a blog about pipes and not about food, we'll talk about pipes…
After lunch (which was extraordinary lasagna followed by a delicious artichoke and meat dish, but I digress…), Claudio, Gianfranco and I went out to Claudio's workshop, which adjoins the house. We started talking about this and that related to Claudio's pipes when I asked Claudio what inspired his shapes. Solely from his pipes, it's clear that shaping is far more central to Claudio than it is to a lot of Italian pipe makers. His shaping voice is clear and well articulated. There's a lot of variance to his shapes, but there's a consistent voice from shape to shape; there's a cleanness to the lines that they all share. Though not necessarily aesthetically, Claudio's shaping philosophy is more akin to the Danes than it is to most Italians.
Claudio makes pipes in fairly large batches, usually working with fifty or sixty simultaneously. This is about a month's production (Claudio makes around 700 pipes each year), so he starts a new batch about once a month. The first two days are dedicated to sorting briar and finding shapes for each block. Claudio has perhaps two hundred shapes cut out on little pieces of paper that serve as approximate templates as he ponders each block. Of course, these aren't set in stone. He scales the shape as needed and modifies the shape if the block requires it or if he discovers a flaw in the briar that necessitates a change of plan.
For Claudio, looking at the structure of the grain in a block and matching it to a shape is the single most important, and most interesting, step in the pipe making process. He stresses that he makes pipes for himself: he does it because he loves to make pipes. That he makes pipes that customers also like is nice, but not central to the creative process for him. Claudio stresses that at this point in his life, with a career as a farmer and a second career as a pipe maker, he doesn't need to make pipes for money. He does it because the process itself is rewarding; he loves making beautiful pipes. And he likes that others enjoy them.
Claudio has paper shape templates going back more than twenty years and he's always developing new ones. They have been inspired by a wide variety of things. In one case, Gianfranco's daughter (age eight) drew a pipe shape while they were visiting with Claudio once that went on to become a Cavicchi template and ultimately a number of pipes! But most are based on shapes that Claudio sees from other pipe makers. They're not copies; they're very much reinterpretations.
One such example is the S. Bang volcano from the Uptown's advertisement in P&T a few years ago pictured to the right. The Cavicchi sitting atop the ad was being smoked by Claudio himself and we snagged it for a minute to present it in this photo. It's far from an exact copy, but the family resemblance is definitely there: the curve of the bottom of the bowl and the angle and curve of the front of the bowl lean heavily on the S. Bang. Other areas differ: length of the shank, the paneling of the shank and the unique Claudio shank treatment mark it out as an unmistakable Cavicchi.
Another great example of this is the volcano shape to the left sitting atop José Manuel Lopes' original Portuguese version of Cachimbos, translated unsurprisingly as Pipes: Artisans and Trademarks for the English edition. That is, of course, Teddy Knudsen and a volcano he made in about 2003 with a bamboo shank. Cavicchi liked the idea, but modified it to have a regular shank and a decorative wood (in this case, boxwood) ferrule that nonetheless echoes the bamboo, with the flaring at the end of the shank, echoed by the decorative flourish on the stem. Contextualized, it does look rather like a little playful hinting at the knuckles of the bamboo in the Teddy original. Similarly, the base of the pipe is totally different: where Teddy emphasized the rugged plateaux contrasting against the smooth sides of the bowl, Claudio offers a gently convex smooth surface. The important line here is the front of the bowl though; that's the element that holds both of these shapes together and serves as the clear commonality between the two. While Claudio's rendition is quite different, the dialogue that goes on between the pipe makers is certainly evident.
Finally, we come to what I think is the most fun of the pipe shapes Claudio, Gianfranco and I discussed. To the right is something of a bent apple-cavalier hybrid. It's based loosely on the Adam Davidson pipe that Claudio saw on Smokingpipes.com pictured below it. In some respects, these shapes couldn't be more different. For starters, Adam's is a derivation of a blowfish shape, itself based loosely on a couple of shapes Hiroyuki Tokutomi has done (which in turn were based very loosely on shapes by Sixten and Lars Ivarsson). The defining characteristic of the shape is the crosscut grain, the large panels on the sides to display birdseye and the balanced asymmetry of the composition. In Claudio's version, all of this is abandoned. Claudio used just the outline of the shape, re-imagining everything else about it. Looking at the two pipes together, one wouldn't guess that the Davidson led to the Cavicchi. Yet, since it did, the ideas that Claudio pulled from the shape are clearly evident in his version. What makes this even more satisfying for Claudio is that a few weeks after he developed this shape based on the photo of Adam's pipe, Adam emailed him to ask him about some of the woods that he uses as shank adornments. He was delighted to be able to reciprocate the unintended favor that Adam had done him.
The copying of shapes is something that seems to cause a whole lot of angst in the pipe world, but not a whole lot of thoughtful discussion. Bo Nordh once said that there's a Swedish expression, "I steal with both arms and both legs," that applies here: all pipe makers borrow, reinterpret, reinvent and reimagine. Pipe makers each add a little bit to the greater aesthetic discussion, but the act of copying and interpreting other works is as central to pipe making as it is to furniture design, knife making or any other aesthetic craft. These are wonderful examples of this: ideas that caught the attention of a creative mind, then filtered and reinvented they become something quite new. For thirty-odd years now, Claudio Cavicchi has contributed his voice to that symphonic aesthetic discussion.
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