Luca and Mattia graduated in 2005 at the Faculty of Architecture and Design at Politecnico di Milano, but only met in 2008. At that time, they were working in Milan in the same project team, and they had the opportunity to exchange views and ideas, immediately perceiving a strong synergy and gradually establishing a deep friendship beyond the professional activity.
After a few years spent in London and Sydney respectively, in 2011 they returned to Italy and worked intensively on numerous projects: from the very beginning their functional vision of design aimed at balancing technique and style, tradition and innovation, equally led them to coordinate projects in a wide range of fields. Since 2012, however, they have mainly focused on furniture and interior design projects, searching in their own country and abroad for production excellence that combine construction skills, dedication to tradition, willingness to experiment, and quality in the communication of their values. They work constantly alongside the production, they like to observe how a material is transformed into an object, they care about how this is done and by whom it is done, trying to grasp the secrets and appreciating the imperfection of their manual work. They prefer authentic materials and pure volumes, paying extreme attention to details and leaving them the role of protagonists.
Moved by a passion for Italian authors of the second half of the 20th century, they find inspiration above all from the roots of material culture, aiming to merge in their work the quality of the furnishing accessory with the elements that make the inhabited spaces special. In their work, they show citations of the classics of the past, and love the pieces that reveal traces of that memory. In their objects they seek balance and expressiveness, aiming for a composed and measured elegance.
In 2018 they founded DRAW, which is not only a Studio based in Tuscany and South Tyrol, but also a concept, a brand defined around their own design vision. DRAW is a container of projects and production experiences that are very different from each other, which can essentially be traced back to three main strands, often mutually contaminated:
There are works pursued by means of ‘reduction’, i.e. aimed at stripping the result of everything that is not strictly necessary both on a functional and formal level. These, aspire to reach the typological essence or the most authentic value of use, bending every creative and constructive choice in this direction.
Then there are works of ‘memory’, which start from a historical quotation, be it an environment, an object, a technique or a formal language. These are intended to recall authors or moments from the past, reinterpreting them with respect, contemporaneity and originality.
Finally, there are works of ‘experimentation’, in which an idea, a need or a particular technique has offered free inspiration for the project.
Despite the great differences, each work is united to the others for depth of research, maximum care of the final result, attention to the relationship among the people involved, and certainly, from the first sketches to the final result, they are all fed by a passion for drawing.