Key Points
- Core approach: use fewer materials, design for disassembly, and avoid adhesives whenever possible
- Constraints (e.g., wood cost/scarcity) trigger inventive, cost-viable alternatives without losing craft quality
- Lifecycle first: specs prioritise repair, reuse, and recyclability from day one
- Digital precision and hand craft; higher-performing materials are framed as a long-term brand investment
Full interview with Matilde Sessolo
1. Your practice spans architecture, interiors, and product design. How do material decisions shift across these scales, and what principles remain constant in your approach?
Across architecture, interiors, and product design, material decisions naturally shift in scale and function - from structural performance in buildings, to tactile and sensory qualities in interiors, to ergonomics and usability in products.
Yet, some principles remain constant in my approach: I prioritize the use of minimal materials, favor designs that can be disassembled, and minimize the use of adhesives. This ensures both comfort and sustainability, while allowing a distinctive design detail to define the character of each project.
2. Many of your projects reference local architectural history. How do you specify materials that balance heritage resonance with contemporary performance standards?
The process of referencing local architectural history is almost like a dialogue with the past. A design idea often comes as an epiphany - a geometry appears in my mind, almost like a memory of another time. From this spark, I shape it into a contemporary object or space, letting the geometry guide both form and function.
The choice of material then follows naturally, balancing the emotional resonance of heritage with the practical and performance needs of today. This interplay between memory, geometry, and material is what allows each project to feel rooted in history yet fully present in the contemporary world.
3. Could you describe a project where a material’s structural limitation pushed you to rethink the design process, and how that outcome enriched the final work?
Wood is always one of the most expensive materials, not only in terms of cost but also in environmental impact - once broken, if it cannot be repaired while maintaining its aesthetic quality, the only option is often to burn it. As a designer, it would be a dream to create a chair carved entirely from wood, but material costs often make such projects commercially unfeasible.
This is a challenge for today’s designers that previous generations didn’t face: production and engineering costs are higher than ever. However, through technical solutions and subtle design adjustments, it is possible to achieve an aesthetic very close to that of hand-carved wood or aluminum, while keeping the project viable. In many cases, these limitations push me to rethink the design process, resulting in solutions that are both innovative and elegant.
4. With clients often seeking cost efficiency, how do you advocate for higher-performing or more sustainable materials that may initially appear more expensive?
I understand that cost efficiency is a priority. However, even if the initial cost may seem higher, choosing higher-performing or more sustainable materials is an investment in their brand. It signals to the market that their company is committed to sustainability and quality, which today makes a real difference in terms of perception, positioning, and long-term value.
5. How do you integrate digital design and fabrication methods with traditional craft techniques when working with materials at different scales?
I integrate digital design and fabrication methods with traditional craft techniques by treating each as complementary rather than separate. At larger scales, digital tools help optimize structure, precision, and efficiency, while traditional craftsmanship ensures the tactile quality and attention to detail that machines alone cannot achieve. At smaller scales, digital prototyping allows rapid experimentation with forms and materials, and the final object is often refined by hand to enhance its aesthetic and functional qualities.
This combination allows me to leverage the strengths of both approaches, creating designs that are precise, expressive, and adaptable across different scales.
6. In mixed-use and office developments, what role do you see for new-generation materials such as composites or engineered timbers in improving environmental performance?
For me, digital design and traditional craft are like two voices in the same conversation. Often, a form appears in my mind - a kind of geometric epiphany - and digital tools help me explore and refine it quickly, testing proportions and structures that would be difficult to visualize otherwise. But the final expression of the material - the warmth of wood under the hand, the subtle textures of metal, the way surfaces meet - comes from traditional craft.
By blending these approaches, I can move seamlessly between scales, letting precision guide the structure while craftsmanship brings emotion, tactility, and a sense of humanity to the final object.
7. Can you elaborate on how lifecycle thinking informs your material specifications, particularly regarding disassembly, reuse, or recyclability?
Lifecycle thinking is almost an obsession for me. Every material I choose is evaluated not just for its immediate aesthetic and functional qualities, but for how it can be disassembled, reused, or recycled at the end of its life. I prioritize solutions that minimize adhesives, allow for easy repair or repurposing, and extend the lifecycle of the object. This approach ensures that my designs are not only beautiful and functional but also responsible, reducing environmental impact and giving materials a second, third, or even fourth life.
8. When adapting international expertise to Central European projects, what have been the biggest surprises or constraints in terms of material culture or supply chains?
One of the biggest surprises when adapting international expertise to Central European projects is the availability of materials, particularly wood. In Spain, for example, high-quality wood can be difficult to source, which often makes creating wooden furniture a real challenge. This limitation requires careful planning, creativity, and sometimes alternative solutions to achieve the desired aesthetic and functional quality while working within the constraints of local supply chains.
9. How do you evaluate whether a material contributes not just to function, but to the narrative and identity of a project?
I evaluate a material’s contribution to a project not only by its functional qualities, but by how its shape and use can highlight and communicate its characteristics, whether mechanical, sustainable, or tactile.
When a part incorporates recycled material, this becomes especially important, as it affects both perception and the brand’s positioning. A material is successful in a project when its presence is understood, valued, and integrated into the narrative, telling a story that aligns with the design’s identity and the company’s values.
