Guatemala-born, Luis Alberto Arrivillaga studied in Milan where he is now based after having worked in Seoul and in London. Since 2008 he has collaborated with Centro Stile Alfa Romeo, Studio Lai, Flowserve, Atelier Biagetti, Universal Design, Nikid Design, Prospero Rasulo, MDF Italia, Made a Mano.
With the Beam table you’ve managed in the dual intent to bend matter and set a dialogue between natural and artificial. New design is also innovation and the table surface in Cristalplant embracing the wooden leg offers an innovative design.
How did the project originate? Was it born like this or is it the result of progressive adjustments?
Cristalplant offered me the chance to solve the function through organic forms. The main feature of the piece, the continuity between the two materials, creates not only a structural bond, but also a material and chromatic one beside defining the aesthetics of the piece. Conceptually I brought into the project the principles of Universal Design. There are many people who fail to see the forms through the eyes, simply just for distraction or for an overload of stimuli.
How did the project originate? Was it born like this or is it the result of progressive adjustments?
Cristalplant offered me the chance to solve the function through organic forms. The main feature of the piece, the continuity between the two materials, creates not only a structural bond, but also a material and chromatic one beside defining the aesthetics of the piece. Conceptually I brought into the project the principles of Universal Design. There are many people who fail to see the forms through the eyes, simply just for distraction or for an overload of stimuli.
For this reason, using the language of surfaces I tried to create a beauty that can be read by touch. The various adjustments and changes that have been necessary during the engineering and manufacturing process have not changed the essence of the concept.
What reference is there in your design to the great design masters?
The greatest reference in this project is this quote by Enzo Mari: “Create projects not for men as they are, but for men as they should hopefully be”.
If today you would want to experiment with a new material or a new application, in which direction you would head?
Certainly I am interested in working with natural materials that do not become a burden on the environment. For this reason I am very interested in glass.
What reference is there in your design to the great design masters?
The greatest reference in this project is this quote by Enzo Mari: “Create projects not for men as they are, but for men as they should hopefully be”.
If today you would want to experiment with a new material or a new application, in which direction you would head?
Certainly I am interested in working with natural materials that do not become a burden on the environment. For this reason I am very interested in glass.
Giorgio Tartaro is a journalist who deals with communication projects for design. Author for RAI and Sitcom, editor, consultant and presenter for various programs on the satellite channel Leonardo. Editorial Director of Case & Stili magazine, he has worked for Modo and Domus. He writes articles for various magazines and is the author of several publications in the sector. He is the co-director of the SPD Interior Design Master MID.