Q1 What is the concept of your brand?
Good, clean design that is practical, visually compelling and emotionally satisfying. I have always believed in a multidisciplinary approach to design -- like Starck, Loewy, and Massimo Vignelli, with whom I have had the fortune of working with. I believe that a diversified practice brings more value to the client as it allows for a seamless creative direction, and makes for more interesting projects. |
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Q2 Could you tell us about your latest trade shows or projects that you are working on right now?
The branding and identity for Vessel -- San Francisco's hot new nightclub is nearing completion. There are also new products in the pipeline for Umbra and an innovative wire management "product" for Doug Mockett Co.
Q3 When do you usually get the inspiration for your works?
Often on trains, or airplanes, or sometimes walking down the street -- as in the case of TagIT -- the luggage tag I designed for Umbra: I was walking through Washington Square Park, and was thinking how great it would be if you could just "peel" apart a luggage tag to open it -- much like a fruit -- without resorting to any complicated fasteners. This gesture, or action, was the impetus for the piece.
Q4 Why did you become designer?
I was leafing through Abitare in 1990 / 91 and saw only matte black metal furniture, and in a moment of hubris I thought I could do better. I have always been attracted to beauty and grew up surrounded by it. It was only later, at university, that I learned about the functional aspects of design. |
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Q8 Could you tell us your working schedule like?
It's nonstop and consuming, but I think that's the norm when you follow your passion.
Q9 Could you tell us the process of working on your pieces?
Naturally, each project is different, and the approach is tailored to fit the project and the client. Some projects begin with a very defined briefing, while others are deliberately vague. The idea -- or concept -- is the always most important thing -- this is what drives the project. Once a solid concept is established, the development of it can take any form necessary. |
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However, I do find working to scale and defining the proportions early in the process to be essential: Sketches are nice, but it is easy to be seduced by a quick sketch. For product development, rapid prototyping has become indispensible while photo-realistic renderings have become less important. On the other hand, dimensionally accurate three-dimensional CAD files (for direct output to manufacturing) have now become a standard deliverable on all product design projects.
Q10 What do you feel important when you are working on your pieces?
I prefer to work on what I call "orphan" typologies -- or typologies which have largely been ignored by other designers. I'd rather focus on designing objects which have more expressive potential than yet "another" chair. Connecting emotionally and psychologically with the end user is also very important to me. The most satisfying thing for me as a user is when I "discover" a subtle aspect of a product after some time -- this gives me great pleasure, knowing that someone really considered all the options. I believe the best design is when you don't need to read the manual -- you just instinctively understand it. |
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Q5 What did you do when you are child?
According to my parents, I was an enfant terrible, but in reality I was just having fun. I was always curious, exploring, reading, dreaming, discovering: I think these are essential traits for a designer.
Q6 What do you think about the current design trend?
I recognize trends as a "necessary evil" which act as an engine for change and progress, however I tend to avoid it in my work. Instead, I am interested in designs which stand the test of time. Thankfully the over-decorative neo-romantic / baroque-revival trend is finally losing momentum -- or is mutating into a more interesting and darker direction: Imagine romanticism fused with a solid dose of urban grunge! Good design always stands the test of time -- regardless of trends.
Q7 What do you think about design industry in your country?
Design awareness has grown much in the US in the last decade or so, and there are some exceptional designers here -- though interestingly many come from other countries originally.
The design industry is currently in crisis as it scrambles to redefine itself and, as a result, justify its relevancy in a post-industrial economy. |
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Operating in what is now primarily an information / service economy -- no longer a manufacturing economy -- many US designers fear that their jobs will be exported to developing industrial economies, such as China and India. I believe David Kelley recently said that IDEO can have ten designers in their Shanghai office work on a project for the "cost" of one US designer.
In terms of domestic furnishings and interiors, the US market remains largely conservative in spite of an emerging and growing design culture: Modernism is still well and alive in the US, as are the ghosts of Eames, Nelson, and Mies. |
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Q11 Could you tell us the work you enjoyed so far?
Every project has its postive and occasionally, negative aspects.
Q12 What do you do on your day off?
Relax, sleep late.
Q13 Could you tell us anything what you think is cool at the moment?
The Clinton Global Initiative is cool, as is Sir Richard Branson donating $3 billion to fund renewable energy initiatives.
Q14 Is there any event that are you going to this year?
I go to about five design-related fairs a year: I think that's enough.
Q15 Recently what kind of music are you listening to?
Tati -- the latest album by Enrico Rava is absolutely amazing! But I really listen to everything from classical, jazz, 70's soul to hard rock -- It really depends on my mood.
Q16 Favorite color
I always like accenting dull, muted colors with bright, non-primary colors. Acid yellow-green is always a favorite, as is blue-grey. And who doesn't like Hermes orange? |
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Q17 Favorite place
I think nothing is quite as magical as a walk in a forest.
Q18 Favorite phrase
Antoine de Saint-Exupery once said: "You know you've achieved perfection in design, not when you have nothing more to add, but when you have nothing more to take away."
Q19 Could you tell us about your next collection? Any future plans?
Yes, I am eager to design more furniture, and am in the process of generating some new ideas for a Swedish manufacturer.
Q20 What is your goal?
My overall goal is -- as always -- excellence in design. I believe in quality over quantity -- that "more is not better" rather, that "better is better." However, my secret aspiration is to collaborate with ecologically-responsible manufacturers and design beautiful products which have a minimal impact on our environment -- both in manufacturing and at disposal. |
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