Interviews with Tatiana & Nicolas Boon

I founded the studio in 2014 at the age of 29. We work as a team of two, my wife and myself. In the beginning the studio was specialised in communication, graphic design, typography, graphic identities, branding and web design.

Over the years our expertise has grown, allowing us to combine disciplines and offer clients relevant and comprehensive creative solutions. In the last two years we have developed the product and interior design segment.

That is why we are very happy to have won an award in this discipline within two years. For us, this is like a new chapter in a book whose history is constantly being written. Today, the studio is truly multidisciplinary and can meet the most demanding requirements with a 360° vision for our clients.

I have always been attracted to creation, I like the fact that it implies an intellectual and formal research that claims the elaboration of a multitude of possible structural combinations, like a puzzle whose answer translates into a form that answers all the necessary claims and qualities. I like the relationship between disciplines and making them coexist within a creation. It develops the coherence of their history and their materialist force. I find it fascinating how an idea, a sketch, becomes concrete as it goes along and finally materializes in a creative process, a working methodology. I love the suggestive power of an object that succeeds in taking us on a journey through a multitude of suggestive messages, in telling a story or in awakening something intimate and subjective in us. It is precisely these intrinsic qualities that I am looking for in art, architecture or design. I love it when an object becomes a historical relic, a favourite.

Our design work is not defined by a single project or style, it is the diversity of subjects that forges the identity of the studio and allows us to provide unique and relevant solutions to each project.

The intuitive relationship plays a fundamental role during the design process, as it will have already preformed the original idea.

Even if form and function are at the origin of the concept and define an object, I still believe that a non-functional, useless object that arouses pure emotions develops a certain form of useful uselessness in spite of itself. It is precisely at this point that design flirts with art because it develops emotional and intellectual narrative qualities. This poetic and narrative force of design gives it its soul. The keystone in my eyes remains the playful aspect, a game of the mind, a journey into a world where our perception is not that of the informed adult but that of an inexperienced child whose mind reveals the magic in everything. Thus the object reveals a new experimental dimension and plays with the imagination of its spectator. Depending on the project, the methodology used can change significantly. Each design goes through reflection, research and sketches. For printed graphics, the paper medium will be a central element that must be chosen with care in order to sublimate the printing techniques used. For product design the choice and interaction of materials, colours and the place of the object in the space plays a very important role.

The most exciting phase is when you are about to finish the plans for production because it confirms that the object has passed all the selection criteria that will allow it to have coherence. I also like the freedom that you feel at the very beginning of the creation because the sketch is "still" free of constraints and remains a free act. There is something enjoyable about creation because you go from an idea to something concrete, tangible, you materialise the immaterial.

I founded the studio in 2014 at the age of 29. In the studio we decided to work as a couple, my wife and myself. In the beginning the studio was specialised in communication, graphic design, typography, graphic identities, branding and web design.

Over the years our expertise has grown, allowing us to combine disciplines and offer clients relevant creative solutions.

In the last two years, we have naturally turned our attention to product design, while at the same time correlating it with graphic design. Today, the studio is truly multidisciplinary and responds to the most specific requests.

We have several works in progress: rugs, armchairs, stools, screens, lighting, benches and fonts.

The only reason I am answering this interview today is because I have never given up and I have always moved forward despite all the obstacles that have stood in my way. It is through perseverance that you achieve your dreams and that is why you should never stop dreaming. You must not limit your ambitions, they are the engine. You must never give up.

Even if it seems surreal, we could observe a very important link between the creators. It's as if we are all governed by a collective unconscious imagination. It's only a matter of time before another designer has exactly the same idea as me somewhere in the world. Our creativity is ultimately conditioned by human physical and psychic constraints which explains why in human history similar ideas have emerged in many places in the world when these human beings have never been in contact with each other. I don't think we should think that we are inventing something for the first time, often we are just reinterpreting what already exists and it is by adding our ideas that we manage to give it a new dimension and novelty.

Social networks, Pinterest, design magazines... and books allow us to keep up to date with the latest trends even if I don't follow them, in my eyes they are too ephemeral. I clearly prefer to stick to my own style because it allows me to find the values I look for in a job and to establish a personal relationship with design. However, it is important to know what has already been done in the world in order to be inspired and to go further, to compare, to improve and to increase your standards and the quality of your own work. There are many sources of inspiration. I draw my inspiration from everywhere, it can happen at any time, it is not provoked by a specific situation, it is stimulated by everything that surrounds us. For example, long walks in nature with my wife and son are an inexhaustible source of inspiration. My son inspires me a lot. His playfulness, his boundless imagination, the magic that any formal aspect can awaken in him is a very important source of inspiration. A child does not attach importance to the pure function of an object, he will first analyse its appearance, its colour, what it evokes in his eyes without prejudice. Thus a half-eaten piece of bread becomes a crown or a boat. It is this spirit that I try to convey in our work. The dialogue with my wife and collaborator allows us to perfect each other's ideas and to reinforce the coherence and impact of what we create.

I think that all design must have a narrative value, a story to tell. I think that beyond the formal reinterpretation, we are looking for what touches the heart and sensitivity of the public. When an object touches the imagination it develops a relationship with each viewer or user. Its originality, relevance and overall coherence are very important. I like it when design takes me on a journey and gives me a glimpse of tomorrow's world, when it immerses me in the intrigue and suggestive magic of the object. When all these criteria are met I judge it to be good.

A design is ready when all the requirements are met: coherence of materials, functions, aesthetics, narrative and suggestive values, relevance of the project for the client, and of course feasibility and optimisation in terms of production. However, these criteria do not mean that the design can no longer be improved, I think that its use over time, new production techniques or new materials will justify its improvement, its optimisation. After the production of a project we usually move on to another project, its success will justify going back to its optimisation. Success can be measured by customer feedback and interest in the design.

I was born in Luxembourg. My mother is Italian, my father is Belgian. My wife and collaborator is Ecuadorian. I speak five languages fluently. (French, Luxembourgish, German, English, Spanish) I think that the linguistic aspect, our varied experiences and our mixed cultures are an important source of inspiration for our design vision. One city that has always inspired us a lot is Brussels, not necessarily for its beauty but rather for its eclecticism, which is also where we met. Music is part of our creative process in the sense that it sharpens the senses and creates a heightened emotional receptivity. We are currently based in Luxembourg. In parallel to the work we do for our clients, we are working on several products, armchairs, stools, carpets, screens. We are in the process of finalising the Anthe typography, which will be published in one or two months.

I think the responsibility of a designer is to ensure a production chain and production techniques that respect the environment and the producers. In this way we help the environment, the producer and the consumer at the same time. Good design is environmentally friendly through its durability over time. The longer an object lasts, the more it respects an ecological and sustainable idea. I like it when an object goes through time, is bequeathed from generation to generation, fades, and becomes an historical (family) relic, a souvenir, an antique, a favourite. When we create or consume a consumer good ourselves we adopt a vision of longevity and not ephemeral use, which represents a small positive change in our lives.

Our main source of inspiration was the mysterious black monolith from Stanley Kubrick's film 2001: A Space Odyssey. The matt finish evokes a mineral texture despite its aluminium construction. Its monolithic appearance and the lightness of its volumes recreate a feeling of floating in a mysterious, almost magical way.

Our intention was that even when switched off, this 45cm high suspension offers a superb play of light and shadow throughout the day. When switched on, soft, glare-free gradations of light appear on its side surfaces and a direct, functional light is directed downwards.

Stanley can be used individually or in groups to create a harmonious, well-balanced path of light through the space.

The luminaire was designed with particular attention to its unique geometry, allowing a variety of designs and lights to be created with the same geometric concept, resulting in the Stanley collection (S/2701, S/2702, S/2703). The complex assembly system developed has allowed us to create the impression of a luminaire with a monolithic appearance that can be fully dismantled, allowing easy access to the light source and easy repair if necessary, making it a durable suspension fixture. Environmentally friendly, the luminaire is made entirely from recyclable aluminium and offers a powerful LED light source.

We are currently developing its marketing.

Between the design and the production we took more or less a good year.

This project was born out of a specific order from a client. The luminaire had to be very light, given its size of 45 cm. Only aluminium offered the ecological and physical characteristics that were necessary for this project. As aluminium does not have the best welding properties, we developed a seamless assembly system that gives the object a monolithic appearance.

No, this project belongs to us, and for the moment we have edited it ourselves. But we are of course open to proposals for its future marketing.

I love lights, what I look for is first of all the beauty of the object and the play of shadows that the light produces, even when it is switched off. When lit, it unfolds all its magic.

This work is targeted at individuals but can also be directed at companies.

I think that this concept stands out because of the research into the play of light and shadow of the object itself when it is switched off. We wanted to evoke a monolith around which the sunlight dances throughout the day. When night falls, it then produces its own light and shadows.

The mysterious black monolith from Stanley Kubrick's film 2001: A Space Odyssey inspired us to create this work, which is why we named the lamp Stanley in homage to the director. The 27 was chosen because the pallets were inclined at 27° and the 01 because it is the 01 model.

First of all, we made a multitude of sketches to find the geometry that would allow us to evoke the monolith while offering the desired light characteristics. The numerous models allowed us to reveal all the problems linked to the rigidity, the assembly and the inclination of the slabs necessary for a perfect light.

The 3d allowed us to calculate the ideal proportions of the luminaire in the space and to define the shadow play of the switched-off luminaire.

I think the unique aspect of this luminaire is its geometry which has allowed us to create a variety of different designs and lighting with the same geometric concept, resulting in the Stanley collection (S/2701, S/2702, S/2703).

My wife and I work together. She has contributed to the development of this work.

Manufactured from black anodised aluminium for optimum weight, the Stanley suspension luminaire consists of folded aluminium slabs. Made of black anodised aluminium for optimum weight, the whole luminaire has been designed without any welding points, giving the impression of a monolithic shape. The whole unit is held together by an invisible screw system. The matt, anodised finish evokes a mineral texture. The powerful LEDs integrated in the heart of the blades create a perfect symbiosis between the design and the light source.

To evoke Stanley Kubrick's rectangular monolith, we had to find a geometry that was close to the rectangle but allowed us to integrate the constraints linked to the diffusion of an optimal light. A direct and functional light, oriented downwards, not dazzling, soft and pleasant towards the sides.

The biggest challenge during the design and realization was dealing with the problems related to the rigidity, assembly and inclination of the slabs necessary for perfect light.

It was because of the many positive comments about the product that we decided to enter the international design competition. But it was my wife who took the decision and initiated the initiative.

The main inspiration is the synthesis of ambergris and yellow amber which has resulted in a delicate abstract form that evokes polished amber or a pebble found by the sea, breaking with the traditional image of ambergris. The shape has been carefully designed to evoke solid and liquid, land and sea. The chromatic choice of gold was obvious, embodying both the colour of amber and the symbolic value of ambergris. The minimalist typographic composition evokes the Zen garden and gives a feeling of lightness and relaxation. A subtle play of opposites and duality.

We wanted to bring together two natural elements mysteriously linked by their names: ambergris, an animal raw material used in perfumery, and yellow amber, an ornamental resin named after the Arabic word "anbar", which means ambergris. We wanted the design to give a feeling of restful lightness and to be a play of opposites: earth/sea, solid/liquid, masculine/feminine, square/round, container/contained, black/white. We also wanted to find this duality in the side-by-side presentation of two packages that reconstitute the golden pebble in its entirety. The identity characterised by the choice of the number 48 reinforced this notion, thanks to the lettering where the square masculine 4 and the rounded feminine 8 complement each other. All these suggestive dualities subtly reinforce the balance between the elements.

As this was a limited edition order, there will be no follow-up to this project.

However, we may launch a new limited edition in the near future.

Between research, design and production we took two months for this work.

The client wanted to develop an ultra minimalistic graphic identity and fragrance diffuser. They gave us very few creative constraints to develop the brand, the packaging and the conceptual aspect which gave us the necessary creative freedom but was perhaps the most difficult part of the project.

This project was produced and used by another company.

The intuition.

No, but I must admit that the Japanese gardens inspired us for the layout.

This work targets a very wide audience. This product is intended for the interior and is therefore aimed at both companies and private customers.

I think that this concept stands out thanks to its minimalism, the absence of overkill and the strength of its suggestive, symbolic and metaphorical values.

As a typographer, we were looking for a name whose meaning could unite the masculine and feminine. The number 48 was the ideal candidate, the masculine square 4 and the feminine rounded 8 complemented each other perfectly and made it possible to fit them both into a square when designing the typeface. It symbolically opposed masculine (square) and feminine (round) shapes.

First we wrote down all the key words we wanted to evoke. Once the concept was defined we made a lot of drawings of the pebble to find the shape that would evoke both solid and liquid. The shape cut in two by the fold had to give the best balance on both sides of the box. The lettering and the typographic layout were designed with the same concern for balance and lightness. For the production files we worked with InDesign and Illustrator.

I think the unique aspect of design is the balance of the composition. Even if the duality is present for each element, it is the composition that gives it its refinement, like a Japanese garden where each element is in its place.

My wife and I work together, she contributed to the development of this work.

The technical difficulty of this project lay in the fact that the hot stamping had to be placed on the edge without the shape being damaged by the paper fold.

The analytical research focused mainly on the shape of the pebble, and the rounded forms that a liquid can adopt. The shape chosen had to evoke both the solid and the liquid, the earth and the sea, to bring together the two elements of our choice, amber (resin) and ambergris (animal product). Many drawings were useful before finding a shape that attracted the eye and had the necessary suggestive qualities.

When working with very few graphic elements, as is the case with our packaging, the main challenges are the proportions of the elements between them and the balance of the composition. Nothing should be superfluous.

It was because of the many positive comments about the product that we decided to enter the international design competition. But it was my wife who took the decision and initiated the initiative.

I did a bachelor's degree in Brussels at the graphic design school "le 75". I was then admitted to the ERG (School of Graphic Research) Saint Luc where I did a first Master 1 and a Master 2 specialised in visual and space art.

I finished my Master 2 jury with the highest distinction. My professional experience started in Brussels and after one year continued in Luxembourg for 3 years. I founded the studio in 2014 at the age of 29. I met my wife and collaborator during our studies in Brussels. In the beginning the studio was specialised in communication, graphic design, typography, graphic identities, branding and webdesign.

Over the years our expertise has grown, allowing us to combine disciplines and offer clients relevant and complete creative solutions. In 2020 we developed the product and interior design segment.

That's why we are very happy today to have won an award in this discipline after only two years. For us it is like a new chapter in a book whose history is continuously being written. Today, the studio is truly multidisciplinary and responds to the most demanding requirements with a 360° vision for our clients.

What motivates me to design is the emotion I feel when creating. It is a strong, exciting emotion. Creation is a free act without any constraints at the beginning. We go from an idea to something concrete, tangible, we materialise the immaterial.

I like the relationship between the creative disciplines and having them coexist within a creation. It develops the coherence, the history and the materialist force of an object. I find it fascinating how an idea, a sketch, becomes more and more concrete and finally materializes in a creative process, a working methodology. I love the suggestive power of an object that succeeds in taking us on a journey, telling a story or awakening something intimate and subjective in us, through a multitude of indirect messages. This is why I became a designer.

Even though the path was not easy, I chose to become a designer.

I love lights, what I look for is first of all the beauty of the object and the play of shadows that the light produces, even when it is switched off. When lit, it unfolds all its magic. It has two personalities, one daytime and one nighttime.

It is through perseverance that you achieve your dreams, which is why you should never stop dreaming or limit your ambitions, they are the driving force. In short, you must never give up.

His design ;-)

I think that all design must have a narrative value, a story to tell. I think that beyond the formal reinterpretation, we are looking for what touches the heart and sensitivity of the public. When an object touches the imagination it develops a relationship with each viewer or user. Its originality, relevance and overall coherence are very important. A great design takes me on a journey and gives me a glimpse of the world of tomorrow, it immerses me in the intrigue and suggestive magic of the object. When all these criteria are met I judge it to be really good.

I don't want to presume to say that "you have to" invest in good design. If the design is sustainable and can be used for years or even generations then the return on investment will justify the investment.

Our design work is not defined by a single project or style, it is the diversity of subjects that forges the studio's identity and allows us to provide unique and relevant solutions to each project. The intuitive relationship plays a fundamental role during the design process and will guide the project. Even if form and function are at the origin of the concept and define the object, I still believe that a non-functional, useless object that arouses pure emotions develops a certain form of useful uselessness in spite of itself. It is precisely at this point that design flirts with art because it develops emotional and intellectual narrative qualities. This poetic and narrative force of design gives it its soul. The keystone in my eyes remains this playful aspect, this game of the mind, a journey into a world where our perception is not that of the informed adult but that of an inexperienced child whose mind reveals the magic in everything.

I like the work of Mathieu Lehanneur and Neri Oxman because the line between design and art is non-existent.

For me the responsibility of a designer is to ensure a production chain and production techniques that respect the environment and the producers. In this way we help the environment, the producer and the consumer at the same time. A sustainable object is not necessarily an object that is biodegradable or recyclable, on the contrary. I think that many designers take an ecological, buy/discard/recycle approach that doesn't necessarily make sense. The longer an object lasts, the more it respects an ecological and sustainable idea. I like it when an object goes through time, is passed on from generation to generation, is altered and then once it has reached the end of its life can be recycled.

I think I would have become a history teacher or an archaeologist.

Design cannot be limited to one discipline, it is by definition the term that links all imaginable creative disciplines. That is why it is obvious that when we create something, it is a game, an interaction between disciplines that gives birth to a work with intrinsic functional and aesthetic qualities that responds to a precise demand and need.

As I have already mentioned, however, I am of the opinion that a non-functional, useless object that arouses pure emotions develops a certain form of useful uselessness in spite of itself. It is precisely at this point that design flirts with art because it develops emotional and intellectual narrative qualities that touch the sensibility of the viewer.

My wife and collaborator (Tatiana Garcia).

A flawless, almost blind ambition.

The financial aspect was one of the biggest challenges. In Luxembourg design is not recognised as an innovative discipline, so you don't have any support to finance it. The only solution provided by the government is financing through banks.

In the last two years we have worked on several ambitious projects. In the future we will present an armchair, a series of three rugs, a stool, a folding screen and a new light fixture.

I think people expect the unexpected, the surprising, the dreamy.

By ensuring a production chain and production techniques that respect the environment and producers, design is already contributing to a better society. In this way we help the environment, the producer and the consumer at the same time. Good design has an ecological perspective, through its durability over time. The longer an object lasts, the more it respects an ecological and sustainable idea.

We have several works in progress: carpet, armchair, stool, screen, lighting, bench and fonts.

The projects that give me the most satisfaction will only appear in a few months.

I believe that design is an interdisciplinary experimental laboratory that leads to innovation and improvement of our environment. I think that with space exploration intensifying in the next few years, our perception of the world will be deeply influenced and enriched. Biomimicry, which is already very present in design, will be revolutionised.

It takes between 7 months and 2 years depending of course on the complexity of the project.

We structure the design process chronologically and apply a precise methodology from start to finish. This design process depends of course on what is to be created. A typography will require a different methodology than the interior design of a space or the creation of an object. I think what is common to every discipline is intuition, reflection and research. It is the beginning of any creative act. If I am working for a client, the process will be more precise. 1. Discovering the client, who they are, what they do 2. What makes them unique, what are their qualities 3. The narrative aspect, the key words that characterise them and give value to their project 4. Conceptual research, drawing/sketching, exploring different conceptual avenues in search of relevant solutions in line with his vision and ours. 5. Realisation, materialisation of the concept. 6. Revision to adapt the elements that can be optimised. Throughout the project the client is involved in the creative process, the more involved he is, the better the final result of the project will be that meets his needs.

To take pleasure, as soon as the pleasure is no longer felt, it is necessary to take a step back.

I think that design contributes greatly to the influence of trends, even if the opposite is also true, especially when it comes to specific colours, patterns or materials. I don't like to follow trends because they are too ephemeral, they set an object in time and take away its timelessness.

Technology is a key factor that will determine the feasibility of a project. Design is entirely dependent on technology, it is ultimately the technology that determines the limits of a project, whether through technical limits or budgetary limits.

Of course, if the budget is unlimited then one can afford to improve the technology to meet the production needs.

The tool I use the most is a black uni-ball eye pen (Mitsubishi pencil) and paper, for writing and drawing.

For the models I use all the material necessary for the elaboration of the model, the materials used can vary depending on the project. As for the software, it all depends on the work, we work with: Illustrator, Photoshop, Light Room, After Effects, In Design, Fontlab, Sketch-Up/Layout and Rhino 7. Often four to five programs are used for a single project.

Colour can have different roles, it can be corporate in relation to a client's brand image, but it can also just be trendy. The colour of the object is secondary as long as it does not directly contribute to the coherence or concept. The materials are determined according to their relevance to the project. They allow me to sublimate the work or to respond to specific physical characteristics. The same goes for the technologies used. The atmosphere will establish and reinforce the context, here colour and light will play a crucial role, they will contribute to the highlighting of the object in the space.

Where can I buy it ;-)

Wow I love it... ;-)

My ideal design partner is my wife and collaborator (Tatiana Garcia). Everything we do is co-designed. Everyone contributes and this enriches the design and its coherence.

If I'm objective, the people who taught me the most were not the nicest, on the contrary, they were the ones who pushed me to the limit, got me out of my comfort zone and literally made my life miserable. In this kind of situation you either give up or you persevere and achieve your goals.

I like reading a lot. The books I read are about history, philosophy and archaeology, I never read about design, I think it is important to take a step back from my work. Nevertheless I can't say that the books I read don't influence my design, on the contrary, they feed my imagination and create unexpected correlations.

No, even though I loved everything related to the creative world, I always wanted to become a palaeontologist or an archaeologist. I always liked history and I still do. I think that the more you know where you come from, the more you know where you are going.

At the risk of sounding defeatist, I have big doubts about the survival of man on earth until then.

When I was a kid, I was very attracted to the creative side of things, so I focused on design schools after high school. As I had to take out a loan to subsidize my studies and my life in another country, I realized that product design schools were out of reach. I finally opted for graphic design, which appealed to me because of its eclecticism. I did a bachelor's degree in Brussels at a graphic design school "le 75". I was then admitted to the "ERG" (School of Graphic Research) where I did a first Master 1 and Master 2 specializing in visual and spatial art. I finished my Master jury with the highest distinction. My professional experience started in Brussels for 1 year and continued in Luxembourg for 3 years. I founded my studio in 2014.

I founded the studio in 2014 at the age of 29. In the studio we work as a couple, my wife and myself. In the beginning the studio was specialised in communication, graphic design, typography, graphic identities, branding and web design. Over the years our expertise has grown, allowing us to combine disciplines and offer clients relevant and comprehensive creative solutions. In the last two years we have developed the product and interior design segment (in correlation with graphic design). Today, the studio is truly multidisciplinary and responds to the most demanding requests.

Design cannot be limited to one discipline, it is by definition the term that links all imaginable creative disciplines. That is why it is obvious that when we create something, it is a game, an interaction between disciplines that gives rise to a work with intrinsic functional and aesthetic qualities that responds to a precise demand and need.

Products, typefaces, logotypes, packaging

Powerpoint presentations with graphic content for Disney/Pixar, Coca Cola, Ubisoft, Sony Playstation.

I don't have a favourite material, it's its relevance to the project that will determine it. It allows me to sublimate the work or to respond to precise physical characteristics. The same goes for the technologies used.

There is no specific time. An idea can emerge at any time. Combined with the methodology, it brings out a multitude of possible variations, which leads to the real creative process.

Intuition plays a fundamental role during the design process, as it will have already preformed the primary idea. Balance is very important for the formal aspect. The poetic and narrative force of a design gives it its soul, its story.

Freedom, because the drawing is "still" free of constraints. Excitement, because the object is about to be born and exist.

The satisfaction and obsession to do better.

I think that all design must have a narrative value, a story to tell. I think that beyond the formal reinterpretation, there must be something that touches the heart and sensitivity of the public. I like the unexpected because a design that surprises stays in the memory.

My first considerations are the originality, the philosophy that led to its development and what it awakens in me as a feeling, the story it tells.

For me the responsibility of a designer is to ensure a production chain and production techniques that respect the environment and the producers. In this way we help the environment, the producer and the consumer at the same time. A sustainable object is not necessarily an object that is biodegradable or recyclable, on the contrary. I think that many designers take an ecological, buy/discard/recycle approach that doesn't necessarily make sense. The longer an object lasts, the more it respects an ecological and sustainable idea. I like it when an object goes through time, is bequeathed from generation to generation, alters, and becomes a historical relic, a souvenir, an antique, a favourite.

I believe that design is an interdisciplinary experimental laboratory that leads to innovation and improvement of our environment. I think that with space exploration intensifying in the next few years, our perception of the world will be deeply influenced and enriched. Biomimicry, which is already very present in design, will be revolutionised.

I haven't done an exhibition yet, but it will be soon ;-)

There are many sources of inspiration. Inspiration can really happen at any time, it is not provoked by a specific situation, it is stimulated by everything that surrounds us. For example, long walks in nature with my wife and son are an inexhaustible source of inspiration. My son inspires me a lot. His playfulness, his boundless imagination, the magic that any formal aspect can awaken in him is a very important source of inspiration. A child does not care about the pure function of an object, he will first analyse its appearance, its colour, what it evokes in his eyes without prejudice. Thus a half-eaten piece of bread becomes a crown or a boat. It is this spirit that we try to convey in our work.

Our design work is not defined by a single project or style, it is the diversity of subjects that forges the identity of the studio and allows us to bring unique and relevant solutions to each project. Our style is clean, minimalist, which allows us to highlight what is important. Style is born through methodology. Even if function is important, so is aesthetics. I like to evoke historical references or instill a narrative value in the design. For me, design is a game of the mind, an interaction between disciplines that gives rise to work with intrinsic functional and aesthetic qualities that respond to a specific demand and need.

I was born and live in Luxembourg and have Belgian-Luxembourgish nationality. My mother is Italian and my father is Belgian. My wife is Ecuadorian. I speak five languages fluently. If Luxembourg has influenced my design, I think it is the linguistic and cultural aspect that should be mentioned, the influence of several cultures that meet. The negative aspects are undoubtedly the very limited vision and understanding of design by political decision-makers whose administrative system is a real obstacle to the proper development of a creative company like ours. (The pandemic that we have experienced for two years has revealed their position towards the creative professions).

I like to create a relationship of trust, loyalty and conviviality with my clients or partners. I am very demanding of myself and make it a point of honour to satisfy my clients.

My design process depends of course on what is going to be created. A typography will require a different methodology/process than the interior design of a space or the creation of an object.

I think what is common to every discipline is intuition, reflection and research. It is the beginning of any creative act. If I am working for a client, the process will be more precise. 1. Discovering the client, who they are, what they do 2. What makes them unique, what are their qualities 3. The narrative aspect, the key words that characterise them and give value to their project 4. Conceptual research, drawing/sketching, exploring different conceptual avenues in search of relevant solutions in line with his vision and ours. 5) Realisation, materialisation of the concept. 6) Revision to adapt the elements that can be optimised. Throughout the process the client is involved in the creative process, the more involved he is, the better the final result of the project will meet his needs.

It is through perseverance that you achieve your dreams. Never limit your ambitions. Never give up. Never say never.

Positive points: The process of creation, from start to finish, is exciting.

Negatives: The work never really stops.

As soon as the pleasure is no longer felt, you must step back.

Because sooner or later the design will be negatively influenced.

Passion, imagination, intuition, a good eye, humility.

The tool I use most is a black uni-ball eye pen (Mitsubichi pencil) and paper, for writing and drawing.

For the models I use all the material necessary for the elaboration of the model, the materials used can vary depending on the project.

As for the software, it all depends on the work, we work with : Illustrator, Photoshop, Light Room, After Effects, In Design, Fontlab, Sketch-Up/Layout and Rhino 7. Often four to five programs are used for a single project.

We structure the creative process chronologically and apply a precise methodology from start to finish.

It takes between 7 months and 2 years depending of course on the ambition of the project.

I don't really have a preference, any job can be exciting if you just enjoy doing it.

To carry out increasingly ambitious projects.

I work together with my wife.

We have several works in progress: carpet, armchair, stool, folding screen, lighting, typeface.

By phone, by email.