Piero Lissoni: A Conversation by Verginia Mahu
Piero Lissoni: A Conversation by Verginia Mahu
Piero Lissoni is architect, art director, and designer and is recognized as one of the masters of contemporary design.
For over thirty years, he has developed projects all over the world in the fields of architecture, landscape, and interior, as well as in product and graphic design. He is also art director for Alpi, B&B Italia, Boffi, Living Divani, Lema, Lualdi, Porro, and Sanlorenzo.
Important architecture and interior projects
Dorothea Hotel in Budapest (2023), the AKA hotel in New York (2023), the Shangri-La Shougang Park in Beijing (2021) realized for the 2022 winter Olympics, The Ritz-Carlton Residences in Miami Beach (2020), the Grand Park Hotel in Rovigno, Croatia (2019), the restyling of the historic Camparino in Galleria Bar in Milan (2019), The Middle House for the Swire Hotels Group in Shanghai (2018), the residential projects One Paraiso and Grand Paraiso in Miami (2018), The Oberoi Al Zorah Beach Resort Ajman in the UAE (2017), the interiors of a series of yachts for Sanlorenzo (2017-2020), the Conservatorium Hotel in Amsterdam (2012), the renovation of the historic Teatro Nazionale in Milan (2009), in addition to the corporate headquarters of Boffi, Glas Italia, Fantini, Living Divani and the Sanlorenzo shipyards in La Spezia and Ameglia.
1. In projects like the Conservatorium Hotel in Amsterdam, where architecture and interior design seem to merge effortlessly, how do you approach balancing these two disciplines? Do you have a method for ensuring the architectural structure and the interior details are speaking the same language, or is this more of an intuitive process?
"In my work, I begin with a humanistic approach, though it often requires me to step into the role of an engineer. While engineering is not my primary passion, it’s essential when creating elements like the Conservatorium Hotel’s internal staircases or the expansive glass roof that covers its courtyard. For these structures, I undertake initial structural calculations myself. My academic training included structural sciences, giving me the foundation to perform these calculations and assess what’s possible before involving specialized engineers. For example, with the red staircase design, I calculated the structure to ensure it could stand without pillars or additional supports. Once the initial design was ready, I collaborated with engineers to refine it further. They identified minor adjustments needed to stabilize the staircase, and ultimately, the structure was enhanced beyond my original design, achieving a stable, functional result.
Every detail must align with the larger vision and structural coherence of the project. This approach requires scientific precision combined with humanistic intuition, and a deep understanding of factors like budget, time constraints, and project capabilities. This synergy of disciplines ensures that each element is in harmony, both visually and structurally."
2. In your collaboration with B&B Italia and Cassina, you’ve championed timeless design using high-quality materials. In today’s world, where sustainability is critical, how do you continue to embrace the craftsmanship of luxury while pushing for a more sustainable design process? How did you address this in your recent work, such as the Living Divani collection?
"I approach sustainability by focusing on durability in design. Creating something to last 20 years or more is the essence of true sustainability—when a product is designed to endure, its overall material and production costs spread over that extended lifespan, reducing its environmental impact.
In contrast, I find the fast-fashion model, often associated with brands like Ikea, less sustainable. Many of their products are engineered to function effectively for just a few years, which I see as a missed opportunity for longevity. For instance, when designing chairs for Kartell, we ensure each piece can withstand at least 200,000 cycles of mechanical testing. If a chair breaks during this testing, adjustments are made to improve it. This commitment to resilience is what I consider real responsibility in design."
3. Your work on the Sanlorenzo yachts transforms not only the space but also the user’s experience of luxury. How do you conceptualize a space that feels deeply connected to human emotions, especially when the environment itself —like the movement of the sea—adds such a dynamic, unpredictable element?
"A yacht is essentially a floating piece of architecture, requiring intricate integration of advanced technology and constant collaboration with naval engineers. Recently, we introduced a new generation of yachts at the Cannes and Monaco shows, which no longer rely on traditional fuel engines. Instead, these yachts are powered by a methanol reformer system, where methanol, water, and CO₂ combine to produce hydrogen, fueling an electric engine that propels the 55-meter vessel. This innovation allows us to create energy efficiently while reducing emissions. In terms of materials, we’re minimizing the use of fiberglass, which has significant environmental drawbacks, by opting for alternatives like carbon fiber and titanium. This approach has enabled a 20% weight reduction, leading to 20% less pollution, and a fully monitored supply chain.
Architecturally, I aim to reimagine yachts with the same principles I apply to any sophisticated living space. Traditionally, yachts often prioritize opulence over elegance, catering to a style that can feel ostentatious. My approach is to design open, refined spaces, minimizing cabins to avoid the cramped, cluttered feel typically associated with yachts. My goal is for these yachts to feel like beautiful, expansive homes on the water—spaces that bring aesthetic pleasure and elevate the overall experience."