The designer and the artisan: an interview with the arch. Simona M. Favrin

The designer and the artisan: an interview with the arch. Simona M. Favrin

Simona, in your long experience as an architect designer you have often collaborated with local artisans, especially with Murano glass masters. Can you tell us how was born the idea of including artistic Murano glass in the creation and restoration of fountains?

The idea of designing and creating fountains by inserting artistic Murano glass borns from a personal passion, my love for the glass material and for its great possibilities of declination, an element that I find very similar to water in its fluidity in the gestational phase. Once solidified, this connection remains because in a sense glass looks like suspended water and they are two elements that have the ability to enhance each other. The play of reflections, thanks to the light, creates magical atmospheres, it is a combination that excites.

unione_editHow important is the knowledge of the artisan work process in the design?

The knowledge of the artisan working process is very important because the final result is linked to the master’s ability to interpret and to the designer’s ability to know the material, its limits and its potential and therefore to foresee executive difficulties. It is a relationship based on trust and knowledge, a connection is created between the designer’s vision and the master’s ability to create, the final result is their synergy which is often much more than just the sum because it has something unexpected and new.

Gold5How would you express the collaboration between designer and master?

As I said before, the dialogue that enriches both from a working point of view is fundamental, moreover the designer must have a vision and adaptable skills, it is not simple but over time the mutual knowledge leads to a collaborative balance. The results can be multiple, each master has his own personality and leads to different results in the project.

It happens, it happened more often in the past, that the master is considered by the designer as a mere technical performer, but I strongly believe that the collaborative process must be enhanced because it really enriches both figures and is reflected in the final result.

In my collaborations I don’t like the peremptory answer “it can’t be done”, I like to stimulate the search for a solution precisely because I like interference, the idea can be transformed and strengthened.

Gold14_editwhat kind of welcome did your first glass projects received?

I must say that I have always had a positive response, I believe that the originality of the approach and of the language are highly appreciated, it is a new experience that arouses interest and has a direct emotional impact on people. The fountains interact with the viewer, even glass in my opinion has this effect, the installations tend to make their mark.

My projects involving artistic Murano glass are light and predispose to relaxation, observation and interaction. The continuous dialogue between water and glass enhanced by the effect that light has on these materials generates a delicate, relaxed atmosphere that has a positive effect on people.

What are your future projects?

This is an effervescent period, I have several things in the pipeline, including interesting works in the field of landscape design and the inclusion of art in living and open air spaces. Together with Forme d’Acqua I am projecting shows for dancing fountains and we have just developed a beautiful project for an event in Milan, in collaboration with E-Gardening and Tiffany Eventi, an happening that was held on 9 June during the days of the Fuori Salone – Milan Design Week . In the cloister of San Barnaba, a suggestive location in the heart of Milan, we presented an installation in which water, Murano glass and garden design were connected to create an atmosphere of great scenic and emotional impact.


Susanna Dei Rossi

Lastest fountain projects