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Mirko Daneluzzo
Interiorator webzine
September 2013

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I interviewed ceramicist Francesco Ardini last week and he recommended I take a look at your work next. Why do you think that is?
We know Francesco, there is a mutual respect between us, this because we have also some main themes in common, for example we are both intrigued by the idea of “disgust”. I think that these deep syntonies regarding our researches is the “common ground” where now we want to grow a professional collaboration.

I was totally blown away by the beauty and diversity of your work: you seem to have designed everything from forks to robots to library buildings. How do you deal with that diversity?
In this case diversity is the chance of having a stimulating work life, basically we turn everything could have the requirements, into work. Then everything is a part of a learning process: we are used to inform our designs reciprocally, this means that researches in the small scale of product design for example related to materials or junction details, could give something in terms of “education” to the architecture field and of course, vice versa. So we actually preserve this possibility to jump to different scale and typology when we design. This approach gives to our projects that kind of feeling, in between control and indeterminacy, pure and impure.
We feel a duty to also think about production procedures: to be effective in the field of design we must also consider to be vectors of change in the industry, in terms of technology. That is the reason why we are interested in robotics and we are getting interested in the synthesis of bio-plastics.

Like other designers, your work has a few very distinct themes. Do you ever feel ‘trapped’ by those themes? And if so, how do you escape from them?
We believe in the use of obsessions, so we don’t want to escape too early from our research points. The obsession leads the process, but when we feel that the outcome is not coherent with the needs of the project anymore, we simply admit these limits, and sometimes it happens that the design doesn’t go ahead. Usually it is a matter of time, of reading the problems with more details, enlarging the research field.

What would be your dream project?
Every project has the potential to become the dream one. This happens when it is truly effective for our contemporaneity, in many ways. So, we are not searching the dream project, it is rather the aim to transform each project in a dream project. It is hard and we need more experience to reach the result, but it is in the schedule. The important thing is not to loose the priority that every project is a manifestation of an intent.

Thank you very much for this interview! Is there anyone whose work you admire that I could interview next week?
Thank you! We would like to suggest to have a look at the work of Roberto Fazio ( it’s a visual and interaction design studio in Bologna.

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