Fabrizio Crisa

I have always been intrigued by objects, as a young adult I was increasingly drawn to the icons of design typical of those years: lamps, home collectables, kitchen tools. At first, I was supposed to become an Aeronautical engineer, but then design got me.

I’ve been working in extraction for fourteen years, using my ideas to try and make tangible and visible that which is normally intangible: air, my greatest source of inspiration. Elica has given me the chance to express myself in my designs.

I believe that although design is considered a form of art, in reality it is quite different from art in its classic acceptation. I think those who make art need to use themselves. their own emotions, to narrate something that affects them personally, whereas those who make design do so to narrate other people, to express and find that something that others want, or which they don’t yet know that they want. The things I design aren’t necessarily an expression of myself, but nor is that the aim of my work; the result doesn’t have to please me, but first and foremost all the others.

I love all things technological, mechanical, design, which makes it even more challenging to work toward a result able to break down the constructive conflict inevitably generated during the design process. It’s the best part, because it makes what I do come alive, something much more than a mere mechanical operation.

I remember when I designed the first suspended hoods with lighting as the key feature — to the extent that the perception was no longer of a hood with a light, but a light with extraction — there was an understandable degree of bewilderment within Elica.

I love wood and stainless steel, the first for its beautiful patterns and the second for its strength.

What I feel for design is an obsession, in a positive way. Continuously thinking up new products and innovative solutions is part of my being, it’s not something I’m able to separate from my daily life: I take my projects with me everywhere I go. Often, for example during long car trips, ideas come to me and I concentrate on new solutions. As I’m driving I’m able to follow my flow of thought without distractions or interruptions. But I also design while watching people and how they act: I’m always on the lookout for contaminations.

New extraction systems, energy savings, the optimisation of air flows and external air exchange systems, fluid dynamics designed to guarantee maximum output and increasingly high-performing filtration systems all form the basis for new product. development; but that’s not enough: technology without vision is unable to reach its full potential.

Following each stage of the product’s development, from the embryonic idea of the concept to the production of the finished product, I end up feeling as if they’re my own, my “children”.

When launching a new product, it is especially important to offer more than a mere technical description, seeking instead to tap into the emotional and motivational sphere.

A very important responsibility, to deliver functional yet beautiful objects, keeping in mind the environmental awareness.

Design, as we know, is the synthesis of many disciplines not least of all sociology, semiotics and even more so, the human quality of the spirit of observation. What design will be in the future? It is going to be a tool to solve problems.

My products are show very frequently, I can't recall the last one. Looking forward to future, Eurocucina will be the next exhibition.

My source is everything that surrounds me and how I look at it, sometimes inspiration just hit you while your doing something ordinary.

My design is characterised by clean lines and features. It is an elegant fast car.

It obviously does. Italians are people that like to engaged in projects when they see an opportunity in them, so the engagement transforms in passione and that's why we are able to deliver such beautiful products.

I have request from external companies and we usually discuss a brief and I deliver the proposals, we discuss them together and we pick the best fit for that specific company. Then I see the final results.

When I think of something new, I always start with a vision, an emotional image that represents the final part of a design path. This helps me imagine how the person who eventually finds themselves looking at the product might feel. This is the vision that brings everything to life.

I wake up usually late for work, rush in the office starting to call people already in the car, spend all day discussing projects with my team and other teams. When everybody else goes home, I find my quiet and start actually design. I go home and I keep designing until late night. And then it is all over again.

Design is a life you choose, you never leave it in the office, it is always around you.

I mainly use the softwares to design what I have in mind. I use drawing just when I need to explain something quickly to someone else and my pc is out of reach. Inspiration comes to several sources around me.

I work has hard as I can and at nights. It is the only way to cope with my job duties and the actual designing process of the products.

It totally depends on the object your designing. Sometimes the flow is fast and engaging and times it is boring and never ending.

I work for Elica and Elica has many clients, Whirlpool, Ikea, Indesit, Hotpoint Ariston, Bosch, Electrolux, but also Asian brands such as Midea and Haier, Ariafina (which is the Elica group’s brand in Japan) and many more.

Product design, because it gives me the chance to touch and feel the final product.

I don't like to reveal what is next, it is certainly taking care of my family and design!

I always work byself and then if I can't decide which way is the best, I tell other people about my project and listen to their consoderations

I am Global Design Director of the Elica Group. I was born in 1973 and graduated in Industrial Design from the Faculty of Architecture at La Sapienza University in Rome. I have been with Elica since 2005, but a few years ago I was appointed Design Director, a key role in the product design and innovation process.

My work is characterized by creativity and aesthetic sense, rationality, and the search for innovative solutions. My passion for beauty and technological innovations allows me to create unique and distinctive objects.

Initially, I studied aeronautical engineering, which seemed like the right choice, but then I looked inside myself and realized that it wasn't what I wanted. Today, the word “design” is overused, but when I chose to study industrial design, I didn't really know what it was or what it meant to be a designer. However, I knew what I felt: a strong passion for products, the emotions, curiosity, and suggestions they provoked in me, the moments when I took everything apart in my mind and rebuilt it in a different way, the tendency to always imagine how to improve every object or how to find new functions, the vibrations and sensations of falling in love with certain products. And so, I realized that I had this problem, an illness, which I only later discovered was called design.

We designers face many challenges, and to respond quickly, we certainly need speed, versatility, and the ability to interpret change ahead of the curve. No less important is the ability to offer ideas that not only satisfy needs but also create new ones.

Design is the cornerstone of our design philosophy, which aims to achieve a balance between form and function. In my personal journey at Elica, I have always tried to approach new projects by changing the rules, observing with fresh eyes to study innovative solutions that are far removed from the classic idea of a range hood. To design new models, you need to change your perspective and shift your focus from the product to the need, to the person. The starting point for good design is the search for a solution to a need, a necessity, or a problem. In this way, the product dematerializes, leaving room for new concepts, thus completing the design flow.

Today, when we think of a new product, many doubts immediately arise about the possible paths to take: form or function? Luxury or simplicity? Durability or ephemerality? Fashion or classicism? Should we seek essentiality by eliminating the superfluous or choose excess? Design must respond to all these doubts with creative and productive choices. Design understood as “planning,” giving meaning to products, a purpose, a mission. I can say that I experience “design” as a state of mind, an attitude aimed at the continuous and obsessive search for “beauty.” Beauty understood as the aesthetic emotion of things. When we talk about beauty, we touch on a delicate subject, difficult to rationalize because it borders on the “subjective.” Beauty is everything that takes our breath away, everything that creates desire, everything that makes us laugh and gives pleasure to our eyes and our soul. A sunset, a flower, a starry sky, a kiss, a poem, a pair of high-heeled shoes, a song, a journey, a perfume: all these things are beauty, or rather, “can” be beauty, because in reality a sunset may seem like the most beautiful thing in the world, but if our mood changes, the same sunset can evoke completely different and less beautiful feelings. So, we can say that beauty is the emotion that everything around us provokes in us, therefore beauty is within us and good design must be able to stimulate these emotions.

Sebbene ammiri molti designer, architetti, antropologi e visionari, senza dubbio la persona che ammiro di più e che considero un grande maestro è Dieter Rams. Credo che, come designer, Rams abbia davvero cambiato il mondo e l'idea di un prodotto come oggetto che dovrebbe soddisfare e arricchire la vita delle persone. Innovativo, concettualmente rivoluzionario, formalmente essenziale e amante dei dettagli: queste sono tutte caratteristiche che costituiscono la base del mio approccio al design. Credo che Rams sia stato un grande maestro per tutti e ho avuto la fortuna di incontrarlo durante la cerimonia in cui gli è stato assegnato il Compasso d'Oro alla carriera a Milano. Ho persino un “selfie” con lui, che è stato più emozionante di quello che avrei potuto scattare con Freddie Mercury.

The most revolutionary products he has ever created, in addition to the NikolaTesla One, an induction hob with built-in extractor fan, which won the Compasso d'Oro award in 2018, are: Lhov and Ariachef Pro. Lhov is the first all-in-one cooking solution (hob, hood, and oven) on the market, revolutionary and innovative, which won an Honorable Mention at the Compasso d'Oro International and the Compasso d'Oro ADI award in 2024. The super-linear black glass design is a unique synthesis of aesthetic research and performance: perfectly flush with the kitchen cabinets, it integrates cutting-edge functions, diversified cooking areas and modes, and a display that controls the product and allows you to fulfill your every desire. Finally: a new-generation extraction system that captures vapors and odors from the hob and, for the first time, from the oven as well. Ariachef Pro, on the other hand, won the Compasso d'Oro International award. The latter is an innovative mobile system, thanks to a clever movement system, which integrates cooking and extraction in a monolithic and essential synthesis, distributed in Japan by Ariafina, a brand with which the Elica Group, in partnership with Fuji Industrial Co. Ltd, has been present in the high-end Japanese market for over 20 years. Receiving these two new awards is not just recognition of the quality of our projects: for me, it is confirmation that design, when it dares, can break new ground.

Design is the cornerstone of our design philosophy, which aims to achieve a balance between form and function. In my personal journey at Elica, I have always tried to approach new projects by changing the rules, looking at things with fresh eyes to study innovative solutions that are far removed from the classic idea of a range hood. Today, the term “range hood” feels restrictive to me; I feel it is outdated. The hood as such is an object that is installed above the hob and extracts fumes. I prefer to talk about functionality, well-being, and the pleasure of enjoying moments spent in the kitchen. I like to talk about air treatment that can take place in a different way than we have always imagined. To design new models, we need to change our perspective and shift our focus from the product to the need, to the person. The starting point should not be the design of a new range, but the solution to a need, a necessity, or a problem. In this way, the product dematerializes, leaving room for new concepts.