Interior Design
Patricia Urquiola: "Controlling Time is the Ultimate Luxury"
One of the most famous designers of the last decade tells us how she works and how she thinks about home decor
Over the last ten years, Patricia Urquiola has exhibited no fewer than a dozen new designs for a variety of companies at Salone del Mobile, the great showcase of international design. Being prolific is part of her MO. Every year, this Milanese-by-adoption – born in Oviedo, Spain, in 1961, she studied architecture in Milan and now lives there with her husband and children – creates new tables, chairs, sofas, armchairs and rugs, exploring new materials and applications with care and attention to detail. She transforms everything in her experience, whether a visit to a museum or the books she pores over, into ideas. In one of her most recent pieces, the Nuez chair for Andreu World, she modelled the light and comfortable seat by playing with a sheet of paper, a creation process that took two years. We had the opportunity to email Urquiola some questions about her life, work and inspiration.
What is the most important thing for you when it comes to designing and decorating, and what tricks would you share with the millions of Houzz users?
It is always important to start from a point of empathy for space and people. I look for inspiration through direct contact. I like to listen, create networks, understand needs and then find various solutions. The houses of today have different functions [from before]. In this sense, I believe that there are limitations, but in general, we must deepen our understanding of what binds us to the places we live in. There is one very important thing to keep in mind when designing or decorating: If you repeat a formula, you are no longer creating.
It is always important to start from a point of empathy for space and people. I look for inspiration through direct contact. I like to listen, create networks, understand needs and then find various solutions. The houses of today have different functions [from before]. In this sense, I believe that there are limitations, but in general, we must deepen our understanding of what binds us to the places we live in. There is one very important thing to keep in mind when designing or decorating: If you repeat a formula, you are no longer creating.
With Nordic style now and until recently vintage, shabby chic and other styles, home decoration seems to depend on passing fashions. Isn’t it time to forget about trends so the house can just be a comfortable space that meets the needs of one’s lifestyle?
I have never believed in trends. As I said before, I am more concerned about issues such as empathy, the concept of time and a sense of place. Each new project must be a blank page. We try to visualise the needs of the user and develop the project based on the concepts mentioned above.
But regarding the fact that the home decor world is facing a difficult time, people prefer to embrace trends because, for the most part, they evoke that nostalgic feeling of warmth and familiarity typical of almost everything that belongs to the past.
I have never believed in trends. As I said before, I am more concerned about issues such as empathy, the concept of time and a sense of place. Each new project must be a blank page. We try to visualise the needs of the user and develop the project based on the concepts mentioned above.
But regarding the fact that the home decor world is facing a difficult time, people prefer to embrace trends because, for the most part, they evoke that nostalgic feeling of warmth and familiarity typical of almost everything that belongs to the past.
The Nuez chair you designed for Andreu World is a versatile piece with simple lines. It has the soul of furniture for public spaces, but it seems perfect for a residential interior. Did you intend it to be used in any space? What do you see as its outstanding features?
The idea was to create a seat that would fold like a sheet of paper. The folds and curves of the chair convey the softness of the material. Nuez expresses itself as a flexible surface that embraces the body when sat on. It is an enveloping, suggestive, warm and, at the same time, technological seat.
The idea was to create a seat that would fold like a sheet of paper. The folds and curves of the chair convey the softness of the material. Nuez expresses itself as a flexible surface that embraces the body when sat on. It is an enveloping, suggestive, warm and, at the same time, technological seat.
Crinoline armchair (2009), designed by Patricia Urquiola for B&B Italia, made of polyethylene and Manila hemp
You work for national and international brands (Andreu World, Kettal, GAN, B&B Italia, Moroso, Boffi and others), and you are also an art director, at Cassina for example. How is it possible to design in so many different styles for so many different brands?
Each brand has its own history and, in general, very different way of working. In my case, I build a unique relationship and dialogue with each client. My philosophy is based on fully empathizing with the company I am working with, in order to understand the relationships and the needs of its clients so as to interpret these ideas. I respect the identity of each company and try to help them evolve.
You work for national and international brands (Andreu World, Kettal, GAN, B&B Italia, Moroso, Boffi and others), and you are also an art director, at Cassina for example. How is it possible to design in so many different styles for so many different brands?
Each brand has its own history and, in general, very different way of working. In my case, I build a unique relationship and dialogue with each client. My philosophy is based on fully empathizing with the company I am working with, in order to understand the relationships and the needs of its clients so as to interpret these ideas. I respect the identity of each company and try to help them evolve.
Nuez chair (2017), by Patricia Urquiola for Andreu World
So … is this the “trick” that ensures people do not tire of your designs?
Yes. Also, I do not stick to a style, and I observe my surroundings and investigate constantly. These are my resources. I like to observe my surroundings to try to understand where contemporary design is going so I can interpret it properly.
So … is this the “trick” that ensures people do not tire of your designs?
Yes. Also, I do not stick to a style, and I observe my surroundings and investigate constantly. These are my resources. I like to observe my surroundings to try to understand where contemporary design is going so I can interpret it properly.
You have designed homes and hotels around the world. In home decor, what should a good interior convey? What should a house have that a hotel does not?
A house is made up of daily needs. Sometimes the only thing you have to do is find the balance [between different needs]. However, for a hotel, I think about what people need when they are far from home. Also, the genius loci are very important to me. In the case of a hotel, I like to give the guest a feeling of the place through the choice of material and colour, in order to give him or her a complete experience.
A house is made up of daily needs. Sometimes the only thing you have to do is find the balance [between different needs]. However, for a hotel, I think about what people need when they are far from home. Also, the genius loci are very important to me. In the case of a hotel, I like to give the guest a feeling of the place through the choice of material and colour, in order to give him or her a complete experience.
Tufty-Time sofa (2005), by Patricia Urquiola for B&B Italia
Colour defines your designs. How do you use it in your work?
Colour is a very useful tool. In some of our projects (though not all), colour is the protagonist. It depends on the project. For example, at the Il Sereno Hotel on the shores of Lake Como, we used the colours of the landscape as a key reference.
Colour defines your designs. How do you use it in your work?
Colour is a very useful tool. In some of our projects (though not all), colour is the protagonist. It depends on the project. For example, at the Il Sereno Hotel on the shores of Lake Como, we used the colours of the landscape as a key reference.
Husk chair (2012), Patricia Urquiola for B&B Italia, made of high-density polyurethane resin
Miguel Milá affirms that for him, “the greatest luxury is comfort.” In terms of decor, what is the greatest luxury for you?
For me, the real luxury is time, or more precisely, being able to control time instead of being controlled by it.
Miguel Milá affirms that for him, “the greatest luxury is comfort.” In terms of decor, what is the greatest luxury for you?
For me, the real luxury is time, or more precisely, being able to control time instead of being controlled by it.
What is your own house like?
My house is very practical and in constant transformation. I do not build or collect things. The things that arrive in my home are usually part of a project – they enter and leave. This does not mean that I get rid of everything, but simply that I replace some objects with others. Many of my prototypes end up at home, and some of the things at home end up in the studio. I would say that my house is always in the process of change and fueled by curiosity.
My house is very practical and in constant transformation. I do not build or collect things. The things that arrive in my home are usually part of a project – they enter and leave. This does not mean that I get rid of everything, but simply that I replace some objects with others. Many of my prototypes end up at home, and some of the things at home end up in the studio. I would say that my house is always in the process of change and fueled by curiosity.
What can’t your home do without?
Books, since I am constantly researching and reading.
Tell us
Do you have any Patricia Urquiola designs in your home? Share with us what you have (or wish for) in the Comments.
Books, since I am constantly researching and reading.
Tell us
Do you have any Patricia Urquiola designs in your home? Share with us what you have (or wish for) in the Comments.
You have achieved success and professional recognition, so what do you still aspire to?
I want to continue doing my work, which is my true passion.
What do you usually do when you’re not designing?
Go to the movies and visit museums with my family. I think you could say that everything I do is a kind of continuous and useful form of research for my work.