Piero Quintiliani 인터뷰

The idea for Qui was born from a very simple but meaningful observation: many people still have a “favorite pencil” or pen, and they feel a small but real sense of frustration when they cannot find it. Analog tools move constantly—from the desk to a notebook, from a bag to the sofa—and this creates both clutter and mental noise. With Qui, I wanted to transform this daily friction into a small ritual: “your pencil is here.” From that insight, we worked to create a minimal object capable of restoring emotional value to analog tools and making them feel more personal and precious again.

One of the main challenges was ensuring that Qui could accommodate different writing tools while maintaining a clean, minimalist aesthetic. We didn’t want a complicated object; we wanted a quiet presence. This required careful work on proportions, tolerances and internal geometry, supported by multiple rounds of prototyping to fine-tune the relationship between weight, grip and magnetic strength.In addition, Qui is not a single object but a complete system: an ecological pencil, a magnetic accessory and a thin metal disc with an adhesive backing. The disc makes the set compatible with any non-metallic surface, which added another layer of engineering complexity because the product had to perform reliably in very different environments and materials.

We chose the name “Qui”—Italian for “here”—because the project is fundamentally about giving a clear place to something that is part of your everyday life. Naming it “here” emphasizes presence, intention and care. When your pencil has a specific “here,” it stops being just another object on your desk and becomes a companion you return to. This reflects my broader design philosophy: good objects should quietly structure our routines, reduce noise and help us protect what truly matters.

Our research showed that despite the dominance of digital devices, people across many professions still rely heavily on analog tools for clarity, focus and creative thinking. At the same time, these tools were often misplaced or lost throughout the day. This tension guided our design decisions: we wanted Qui not just to “hold” a pencil, but to highlight it, give it visibility and turn the act of placing it back into a small, intentional gesture. The goal was to strengthen the emotional bond between users and their analog tools.

The evolution of the magnetic mechanism required extensive testing, because small variations in strength or distance drastically change the user experience. A magnet that is too weak feels unreliable; one that is too strong becomes frustrating. We experimented with different magnet grades, layouts and internal distances to achieve the perfect balance: a secure, reassuring attachment combined with an effortless release.A key part of this work involved the adhesive metal disc, which enables Qui to function even on non-metallic surfaces such as wooden desks, smooth walls, rigid planners or notebooks. We had to ensure that the magnetic interaction felt equally consistent whether the user relied on a naturally metallic surface or on the disc as an interface.

I believe the jury appreciated how Qui transforms a very ordinary object into something quietly poetic without sacrificing practicality. It is minimal, accessible and industrially feasible, yet it introduces a new, almost meditative gesture in everyday life. The balance between emotional value, clarity of use and manufacturability is likely what made the design stand out to the jury.

Ozio’s mission is to create objects that protect and enhance quality time—moments that are often overshadowed by a rushed, hyper-connected lifestyle. Qui fits perfectly within this vision. By giving your favorite pencil a dedicated place “here,” it reduces micro-frictions and invites you to pause, jot down a thought, sketch an idea or reflect on paper. It does not demand attention; it gently improves your routine. This is exactly what Ozio stands for.

We wanted Qui to deliver a subtle sense of surprise—the satisfying “click” of the magnet—while remaining fully intuitive. No buttons, no moving parts, no visible complexity. We observed how users naturally tried to interact with early prototypes and removed any potential ambiguity. The final product offers a gesture that is instantly understood and memorized, yet always pleasantly tactile.

In studying workspace behavior, we noticed two consistent patterns: people accumulate many pens but use only one or two favorites; and visual clutter increases stress and reduces focus. Traditional organizers often place tools away from where thinking actually happens. With Qui, we wanted to bring the favorite tool closer to the point of action—on a notebook, next to a screen, on a wall, on a shelf.The adhesive metal disc greatly expands this freedom: users can create their own “here” anywhere—on a monitor, a planner, a shelf or a vertical surface—turning virtually any area into a functional docking point for their favorite writing tool.

Although Qui is a small object, I see it as a meaningful step toward rebalancing the relationship between analog and digital tools. As our lives become increasingly digital, the value of physical objects that support focus and creativity will only grow. Qui demonstrates that even a minimal accessory can encourage people to use their analog tools more intentionally, preserve their emotional value and integrate them more seamlessly into everyday routines. I believe this approach will inspire new innovations in stationery design, especially those that bridge the gap between analog rituals and digital workflows.