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Piero Lissoni
Goddess is in the details…
G.T., November 12, 2015
Piero Lissoni_Coupe (1)
Piero Lissoni_Coupe (1)
 
G.T.: God is in the details.



P.L.:
Yes. Think of Chareau's Maison de Verre, Terragni's Casa del Fascio, the Sant'Elia nursery in Como, or some of the intuitions of the BBPR. When I think of their work, I always imagine an incredibly human scale. And so the ones I like continue to have an incredible human scale. And that's what I want to do in my architecture. Human scales.


G.T.: If you had to choose between designing a penitentiary, a place of worship, a hospital or a school... which would you choose?



P.L.: It would be hard for me to design a place of worship, as an atheist. I think an atheist could do it, but I have never thought of doing it. I would be very afraid to work on a penitentiary. I'm afraid of the idea itself, and I'm afraid of being the one who has to design the cage. A school - why not? Of course it would depend what kind of school




Piero Lissoni_chair and tables_Fritz Hansen
Piero Lissoni_chair and tables_Fritz Hansen
 
G.T.: What about the materials of architecture, of your architecture. Some critics have noticed a change in your objects, your surfaces, your decorative themes. At a certain point you talk about "deboned" colours. Tell me about your materials and the new decoration.



P.L.: I always let the materials speak for themselves. I was talking about bones because I believe every material has a sort of skeleton within it. Every material can peel away the layers to get down to its true nature. When I work with wood I like to get down to its minimal surface. When I work with ceramics... I ossify ceramics. 




Piero Lissoni_tables and pouffe_Fritz Hansen
Piero Lissoni_tables and pouffe_Fritz Hansen
 
G.T.: Innovation, literature has often been done with the designer and the company. Some say that some companies now anticipate designers or architects in their new catalogues. Partly because of the way the market works. Do you think that's how it is, or that there must be a partnership between designer and manufacturer?



A question about sustainability. It has always been seen as a limitation on the aesthetic value of the product. But in actual fact it is now taking on an interesting significance. Photovoltaic panels are now true objects of design, not brutalistic machines. Do you think this theme is an element of design, or "interference"?





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