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Redline Magazine 01/2019 > Design


Between design and architecture

What sparks the creative process? How do you give concrete form to an idea?

There’s a line that joins architecture and motorcycling. It’s the line of design, depicted in this section by the creations and the visions of two brilliant young designers.




Where do
you get your ideas?



Creativity allows you to imagine something new, but it requires inspiration, which has many sources of different kinds: automotive, product design, fashion, architecture… The Internet is a huge container of ideas, but it’s also possible to find the spark of the creative process in what is around you in everyday life. In certain moments, the search for the right idea is almost spasmodic, in others the intuition comes by itself, sudden and unexpected. A lot depends on what it is that you want to create, from the culture and from your own curiosity.



I seek ideas within the inner logics and mechanisms of the design operations that could deliver impact. I take lot of interest in what I call architectural geometry, which could be described as geometry that suggests an architectural use through the way it is being shaped. Geometry enables abstraction and can deliver surprising and impactful forms. Through in-depth consideration of structural formation and tectonic constituents I often test multiple scenarios and allow optioneering at the very start of the process. Nothing is to be left unexplored.


When does
the idea become real?



Freehand sketching represents the idea in the most simple, direct, and emotional way possible. Safeguarding its purity and expressiveness from the influences, however unavoidable, of market logic and technical specifications is the real challenge of the realization phase. The proportions are the fundamental element of the identity of the project. The other distinctive traits of its personality, like the study of colors, the choice of materials, and the various degrees of finishing, originate as an integral part of the concept but are then developed once the volumes have been defined.



I believe in design process. Design propositions are not given. Rather, it is the sequence of design operations that shapes the idea. The volumes, façade articulation, compositional relationships always reflect the sophistication of the design methodology. The amount of computational power available today makes the design process quite streamlined yet malleable. Any driver we find on the way can be swiftly incorporated into it. That has enabled a great progress in architectural design, and the delivery of sophisticated architectural propositions.


How do you look
for the next big trend?



Being a precursor requires a combination of vision, analytical skills, and instinct. But to shape the future you also have to know how to read the past. The story of a product, of the market, of the social changes supports us in creating proposals in the design area. Looking at motorcycle design, how could we forget the first Monster by Galluzzi in 1993? Or the mythical 916 by Tamburini? “Objects” with a strong emotional impact that, thanks to the genius and intuition of their designers, represented then, and still represent now, a reference point for anyone who wants to look into the future.



I find our industry quite comprehensive a field where many interests of different players meet. Hence a true revolution is something that is extremely hard to predict. I believe in partial innovation. Many existing technological inventions can be pushed forward and tested for impact. Among the ones I believe can deliver an impact are robotic assembly methods, high performance materials and material composites. Within the design process I believe further explorations of computational design methods can deliver more innovation and possibly even some inventions.

Pictures of 520 West 28th Street building by Zaha Hadid Photography by Hufton+Crow

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of 01/2019 Redline Magazine

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