Lamatilde I am Michele Cafarelli, Luca Macrì, Sandro Rizzo, Marco Ruffino and Silvio Tiduwho in 2017 go together (and mind) to open their own interior design studio, after long and fruitful cross-cutting collaborations on various projects. For them, space is above all a narrative tool, through which they are able to give shape to stories that develop, give life to unique experiences, often very colorful and undoubtedly artfully constructed. We met them for an interview.
How did you meet and how did the study start?
We trained professionally in an exhibition company, where we worked as external partners. So we immediately had the opportunity to not only deal with the creative part of the projects, but also with production issues and related to large orders. Then the idea of having our own structure slowly took place and the breaks at the coffee machine did the rest!
What kind of projects are you following most at the moment?
At the moment we work a lot in the field of hospitality, but we maintain an open work attitude that makes us deal with architecture and interior in the same way, allowing us to go into projects in different capacities and in different phases. Over the years, we have primarily specialized in catering, with projects of various sizes: right from the restaurant’s large space. Villa Crespi by chef Antonino Cannavacciuolo, for the small patisserie in Turin Catarina – The abbey’s living roomwhose interior is inspired by the abbess Maria Caterina Operti of Cervasca, who gave up her vows by fleeing for love.
How does a project arise and how does it grow?
The project is born out of the discussion with the customers, whose stories for us are transformed into images and stories that we also try to transpose on paper. In the restaurant the Grenettefor example, located a few steps from the square where the old grain market in Aosta once stood, we wanted to bring the history of the place to light, reveal its authentic space and surfaces, but give a fresh modernity to the spaces. We have brought the brick walls and the old wooden slatted floors to light, and combined them with modern furniture and finishes.
The creative phase is always the most nervous and chaotic, but then everything slowly comes in order. Therefore, when we start designing, each piece ends up putting itself in its place, and we gradually experiment by finding innovative solutions on technical, formal, productive or linguistic aspects.
Homes, offices, furniture, shops, restaurants, hotels and installations to the world of culture: what are your favorite types? Because?
Hospitality is an interesting typology where private and public overlap to create environments and situations where experience is most important. In general, we like to always face different challenges, to learn something different every time, not always to adopt the same formal solutions: we think of each project according to its specific circumstances to find the most suitable proposal.
And how do you juggle these different worlds? What are the differences in the approach to the project and what are the common points?
Execution is the element that determines the project and the approach. Private spaces have to do with people’s secret world, while public interiors are more linked to contemporary semiotics: space becomes a medium through which one can tell stories, transfer values and thoughts.
How would you describe your view of interior design? And what are the elements that can never be missing in an interior design project?
An ironic look, aware of the signs and overlaps of the past, but always in an extremely contemporary way. A story cannot be lacking, an unusual point of view that transforms space into experience.
Is there a project that more than others has represented a challenge for you or a milestone in the growth of the study?
The highlight so far was the project of EDIT (Eat Drink Innovatively Together, ed) in Turin: a 2400 sqm space that houses a bakery, a pub, a brewery, a cocktail bar, a restaurant and a kitchen area: a dynamic and flexible reality dedicated to both professionals and consumers.
It was one of the most complex works we followed, and it gave us the opportunity to tackle several aspects of the project, from the strategic definition of the activity to its positioning in the market, from the multifaceted and articulated identity project to the multifaceted. interior.
How would you define your vision of modern lifestyle? What relationship do we have to space, and how can we improve it?
We believe that the clash / mix between analog and digital will get stronger and stronger, although at the moment it often happens to live contemporary routines in spaces that are not. The fluidization of activities and the increasingly less clear distinction between work and domestic moments have highlighted the need to redefine the living space and the design of its elements in order, above all, to make it a time project for those who live it.
One of the housing projects we took care of a few years ago, Trbc househe was already thinking in a similar perspective, giving a single space characterized by a functional rhythm thanks to an contained boiserie, where each environment flows into the other without encountering obstacles and transforms itself during the day only by opening or close a door.
A recent project we have been working on with the need to create flexible spaces is Camplus in Turin, a co-operation project for students, where we worked with the common areas. Here at the entrance, we have inserted a large communal table with a tree in the middle, then two floors for more collective moments, two lounges and a performance area – areas that differ depending on how they are used and are distinguished by extra and colored flooring.
What rooms are we going to stay in tomorrow?
The paradox between new applications and yesterday’s spaces can be solved by designing elements halfway between the furniture and the system, which allows an elastic control of time in the spaces: modular products, easily achievable and adaptable, which improve the micro space of the house. – cosiness, work, entertainment, exercise, etc. By focusing on the boundary between space and product, we can place the individual at the center of the housing project, with its needs, its innovative inclinations, its creative capacity.
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