“What makes a construction special, as with a natural or metropolitan place, is not the architecture per se, but that alchemy that emerges between the constructed space itself, those who inhabit it, and the person who conceived it. A house is truly special when it is independent, that is, when its soul is visible in the details and in the complementary outcome of the architect’s contribution and the expectations of the client. The spirit of the place changes according to who dwells there and lives from memories. Only when this delicate balance is reached can a special place come into being, a place able to transmit the diverse degrees of relation with the context. People need to identify with their own home, to establish a sense of belonging, and appreciate its protective aura. A home is basically an exoskeleton that must provide protection in both a literal sense and an emotional one, a place whose function is primarily to foster human interrelations, and hence also family bonds. This is why it is important to seek that delicate and subtle balance which binds a given space to its occupants.
I reckon that true architecture must not restrict itself to the outer surfaces of a house, but should involve inside and outside seamlessly – like a Möbius strip. In my projects the building exteriors always find their “natural” counterpart in the interiors. But rather than a mere corresponding balance between mass and void, I like to explore with two basic interfaces: light and natural materials.
When I hit upon what I feel is the perfect solution for a project, I get a sudden flash of euphoria, only for fraction of a second, but intense enough. That is what I call reaching the threshold, the one which is linked to a given moment or context, which fuses my previous experiences and to some extent annuls them, creating room for diverse new opportunities to be reconnoitred. As for designing objects – which differ from architecture with its set of building norms, structural parameters, geographical features, orientation rules – the act is certainly less limited and allows for greater creative flexibility. I’m interested in pinpointing the outer threshold as I reason through the technological and technical implications, or the properties of the materials I’m using, and once this is determined I then set about defining the forms and functions involved.
When I’m designing I always get excited about what I’m doing. This is a crucial motivator for me, and not just on the work front. In this way the task at hand becomes a source of fun, free of restrictions. It’s like being a kid again. You might say that excitement is the fundamental fourth dimension of my work. The emotional dimension.
From my childhood, play meant building things. Later on, another of my passions, speed, a craze I have played out through my motorbike and especially car racing. I have been crazy about racing maybe all my life. It’s not just the competitive side – it has helped me grow a sense of responsibility for what I do, and taught me to be truly free to find my limits and take on the risks.
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