Marco Piva is recognized as a pioneer who embodies stylistic freedom and innovation in the design world, known internationally as a respected traveler and designer. Prioritizing material research and technological innovations in each of his projects, Piva redefines the role of natural stones, particularly marble, in the design process. The creativity of his studio integrates elegance and functionality in architecture and interior design while also considering the aesthetic values that enhance living spaces. In our interview, we explore Marco Piva’s design philosophy, the materials he uses in his projects, and how his multicultural perspective contributes to his work.
How does Studio Marco Piva define stylistic freedom in design? What are the fundamental principles that guide your designs?
I can define Studio Marco Piva’s style as expressive freedom without pre-set, superstructural bonds.The fundamental principles are that the projects have to reflect aesthetic and functional quality. They should be elegant and contain innovative elements. The “design style” of both my architecture and interior design is pervaded by stylistic freedom, my works represent a functional, long-lasting, elegant projects, something sophisticated that doesn’t need to be shown off, but instead aims at being integrated in the everyday life of the clients. What I love the most about my job is the awareness that every day I can imagine and attempt to create something new, useful and beautiful: there is a continuous area where the creative action of the urban planner, the architect and design is more necessary than ever.
What role do natural stones like marble play in your projects? How has marble’s place in your design process evolved?
As a designer, I have always regarded stones and marbles not as an inert material, but as a living, reactive substance— a volume and surface to be shaped, etched, and textured.
In many of my projects in architecture and interior design, as well as industrial design, I have worked with marble, exploring new aesthetic values to infuse it with, as a means to refresh the design language. This research is rooted in the premise that the varied and polychromatic textures of marble, which add unique value to this material, can serve as the starting point for contemporary products and projects.
Marble for me maintained a timeless place in the design process. Historically, it has been synonymous with luxury, permanence, and classical beauty. But now, its role in design has expanded into more versatile, innovative, and sustainable directions, a role that is evolved over the years due to advances in technology, changing aesthetic preferences, and a focus on sustainability, while continuing to symbolize elegance and natural beauty.
Today’s advanced processing techniques allow for intricate plays of solids and voids, graphic patterns, undulations, engravings, satin finishes, and sandblasting that bring contrast to the surfaces. This innovation enables marble to evolve from a traditional Italian material into a versatile medium that can be applied across fields, from architecture to design.
To make an example, the Stone Tornado we designed for Lavagnoli Marmi at Marmomac 2019 was a “scene” that intends to symbolize, fixing them in the Stone, a dramatic phenomena such the one of a tornado.
Stone tornado was realized through the processing of the material taken to the extreme of the technical and expressive potential of the machines and refined by the irreplaceable sensitivity of manual processing.
Due to the infinite possibilities of use, it is not easy to establish a generic trend for marble’s place in design process, although in general I see that demand for this material is constantly increasing in the last years, both as complement to other materials than in its unique beauty, for covering or self-standing design object.
Marble is one of the first material ever used by humans to build up their objects, home and cities (see Athens or Rome as example), but to me it is always new and full of secrets to discover.
We know that you closely follow material research and technological advancements. How are these efforts reflected in your designs?
I believe that research and experimentation are the founding elements of Italian design, and have always underpinned my own work.
I fundamentally consider myself an artist who loves to work with materials, with colours, with the expressiveness needed to transform and give shape to forms; if I could, I would make the materials necessary to develop an architectural design or product myself.
Research into materials and production processes, whether artisanal or industrial, is crucial, I am obsessively picky when it comes to materials and finishes, it’s part of my creative DNA, just think – I’ve had a huge library of materials created inside my Studio, which is constantly updated, it’s a “parallel” endeavour to our design activity, a constantly-evolving “research project.”
How do you integrate traditional materials like marble with modern technologies in your design process?
In our projects we always start with an investigation of the material in its essentiality and simplicity, which can then be enriched with inserts of other materials such as metal, stone, glass or textiles, giving life to fine and elegant designs and decorations where the essential parts that can “live” on its own, but if composed, it is enriched.
As for example, in the Admeto table designed for Visionnaire, the shape is informed by the contrast between a natural material, marble, and two artificial ones, glass and metal – engendered by specific technologies. The elegant polychrome veins of the marble come together and interact with the shiny textures of the metal and glass, their combination and particular processing conveying an air of preciousness, value and excellence.
Also, the last presented Tharis wellness unit, always for Visionnaire, plays on the interplay of elements, with a metal top crossed by two full-height backlit mirrors with a freestanding sink in travertine marble.
Speaking about sinks, for Kreoo I designed Tao, a sculptural, elegant, clean shape that expresses the strength running through matter. A strong, graphic design, which reflects marble’s intrinsic dynamism and with metal inserts that emphasize the washbasins’ sculptural shape along its entire length and diameter.
Another example is the “Regolo” floor of the Elementa Collection designed for Foglie d’Oro, where wood can be enriched with inserts of other materials, generating floors that can be completely modelled and customised.
To conclude, by blending the organic, timeless nature of marble with modern technological tools and innovations, it is possible to push boundaries, creating spaces and objects that honor tradition while embracing the needs of the future.
How does the multicultural nature of Milan’s architectural and design world contribute to your projects?
Milan is the city where I belong, where I was born, I’d studies, started to work and where I always want to be back after my business or leisure trips. It’s a very stimulating city, the perfect one to live and work. Especially in Milan, the link between different artistic disciplines (design, fashion, art, food etc) is growing closer: the lifestyle is absolutely unique.
A multicultural, creative and innovative context, also if you consider that in Studio Marco Piva we have collaborators from 17 countries of the world!
This multicultural nature plays a significant role in shaping each of my architectural and design projects, offering a rich blend of diverse cultural influences, global design trends, and innovative practices.
How do you take cultural differences into account when working on projects in different countries?
Knowing the development and production realities of the project that are profoundly different from the Italian one allows us to evaluate other ways of interpreting and configuring the places intended to accommodate the most diverse housing, tourism, residential, and working needs, in compliance with a “different” vision of the Project . But at the same time it can be integrated with the Italian one which bears unique humanistic values linked to our culture, our history and our art.
In a different country than ours, the design process, according to our philosophy, must necessarily start from the acquisition and metabolization of the “spirit” of the places in which we operate.
The fact that we interface with such different cultures with precise characteristics is an enrichment for us, just as it is, on a daily basis, to have a team in the Studio, as said before, made up of people from 17 different nationalities.
Could you share the names and features of some of your standout projects? Can you tell us about the design process and outcomes of these projects?
That is a hard question: Studio Marco Piva worldwide design portfolio counts, more or less, 60 hotels or mixed-use buildings, 25 master-plans, more than 1000 apartments inside the residential complex, 70 private villas or luxury houses, 20 showrooms or retail spaces and approximately 90 design collections for furniture companies, apart from the project’s custom design, so I will say about the latest concluded.
As for hospitality, the last concluded is the Gran Melià Palazzo Cordusio, opened this year, a historic building in the heart of the city (Palazzo Venezia), erected in the late 19th century, that has been renovated and partially repurposed for hotel use. Studio Marco Piva oversaw the Artistic Direction of the portions under monumental protection and was responsible for the interior architectural layout, terraces, and the creation of the internal courtyard. Together with the restorer and the Superintendency, it was agreed that the type of project to be carried out should align with the methodological foundations of conservative restoration, in order to maintain the architectural, artistic and historical characteristics of the building, such as the beautiful Ceppo Gentile stone of the façade. The operations were aimed at reducing the deterioration of existing surfaces and, where that was not possible, at introducing new surfaces and materials that were aesthetically and technologically compatible with the existing ones.
Also in Sardinia, Cagliari, the renovation project of Palazzo Tirso Hotel involved repurposing a historic 1920s building, from office spaces to a luxury hotel. The interior architectural design draws on the history of the region and the original purpose of the building. The project’s essence is encapsulated in the transformation of a historic structure with contemporary design principles, while still respecting the intrinsic characteristics of the building. The design adopted a construction approach aimed at minimizing structural changes and new additions. The use of predominantly Sardinian materials, such as Orosei Biancone stone, highlighted the choice to prioritize local, sustainable resources. Another distinctive feature of the project concerning the stone is that on the ground floor, the marble columns are in Verde Alpi, original and preserved. We also used this material for the bar and restaurant counters.
As for marble, even if it is not a recently concluded, I would speak about the Calidarium of the Excelsior Hotel Gallia SPA in Milan. In the project, the well-being has been interpreted, through the use of refine materials and colours, together with the highest technology, as pleasure extending from the body to the mind, in a harmonious blend of sensorial and spiritual experiences: a beautiful Calidarium manufactured using gray marble Billiemi finely textured, with inside heated benches , which is made unique through a natural lighting system that allows natural light to filter inside the space , creating magical situation of absolute well-being. In this project, marble is also protagonist of all the flooring of the ground floor of the Hotel and of the Katara Suite (and other spaces..).
As a result
I believe we should focus on the inherent value within the nature of this material: the uniqueness of color and veining native to each quarry, enhanced through the latest texturing technologies and translated into replicable products, such as those in industrial design, offers added value through its distinctiveness. This gives each object the uniqueness of a work of art.
The selection of materials is fundamental for giving projects their own identity and recognition on the vast panorama of hospitality, residential and private buildings. Marble, stone, ceramics, glass, metals and fabrics emanate tactile and visual perceptions with their textures and colours, confirming the architect’s direction as an essential tool for achieving the expected level of excellence.
+90 532 585 51 95
+90 532 585 51 95