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Designing for art

Designing for art



You are the man behind the astonishing installations of famous artists such as Oldenburg-van-Bruggen, Carsten Holler, Mariko Mori, Marc Quinn, Charles Ray… you seem to be at a crossroads between art, design and architecture

I am interested in project design. Each project is, for me, an exercise in style and a unique opportunity for research. So I am interested in contemporary art works in which the design, the technological and manufacturing dimension is conspicuous, complex. I discovered in my early years that the success of a project depends on the ability to listen to spaces, to people, whether they are artists, curators, museum directors, CEO or craftsmen before I enter the stage of synthesis that defines the guidelines of my projects.

You are based in Milan. How does this city contribute to what you do?

The economical structure of north Italy, an extended region of over 20 million inhabitants, is based on a network of small and medium size companies. Most of these companies can combine contemporary high technology with traditional artisanship of the highest quality and research. To be based in Milan allows you to have strong relations with this network, all within a driving distance of 200 km. This is a unique condition and over the years I have selected and coordinated a range of companies, able to realize the most complex prototypes, artworks or installations in a relatively small lapse of time.


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