Today poetic design is based on a plethora of complex criteria: human experience, social behaviors, global, economic and political issues, physical and mental interaction, form, vision, and a rigorous understanding and desire for contemporary culture. Manufacturing is based on another collective group of criteria: capital investment, market share, production ease, dissemination, growth, distribution, maintenance, service, performance, quality, ecological issues and sustainability. The combination of these factors shape our objects, inform our forms, our physical space, visual culture and our contemporary human experience. These quantitative constructs shape business, identity, brand and value. This is the business of beauty. Every business should be completely concerned with beauty - it is after all a collective human need. I believe that we could be living in an entirely different world - one that is full of real contemporary inspiring objects, spaces, places, worlds, spirits and experiences. Design has been the cultural shaper of our world from the start. We have designed systems, cities, and commodities. We have addressed the world’s problems. Now design is not about solving problems, but about a rigorous beautification of our built environments. Design is about the betterment of our lives poetically, aesthetically, experientially, sensorially, and emotionally. My real desire is to see people live in the modus of our time, to participate in the contemporary world, and to release themselves from nostalgia, antiquated traditions, old rituals, kitsch and the meaningless. We should be conscious and attune with this world in this moment. If human nature is to live in the past - to change the world is to change human nature.

The thought process behind my design is rooted in functionality and the relationship between the user and the object. This first collection of seating that I have presented is called "The Spring Collection" and is founded on the idea of dynamism. Every piece in the collection has some element of "spring" to it; moving with and adapting to the user rather than the other way around. I tried in my design process to strip down the chair to only its most essential elements. What makes a chair comfortable? In the end I hope people find the result to be playful, geometric and sculptural but moreover functional and ergonomic. This idea of balance is also reflected in the chosen materials: the rawness and coolness of the hand-welded iron is combined with the refined elegance and warmth of the Italian leather. The artisans of Italy are a big source of inspiration in my designs. All of the chairs are handmade in and just outside of Milan, my hometown, and I have a great respect for the work of these craftsmen. The iron is hand-welded and I have purposely left the weld marks to tell the story of the production behind the object. The highest quality Italian leather is all hand stitched and upholstered by a small family owned operation in Seregno that has been in business for generations. I truly believe that you can create innovative designs using traditional production technologies and that we must support and uphold these artisans and their know-how.