Luxury in architecture is something you see and do not see. The luxury you see is that harmonic synergy between the building and the surrounding landscape, the brilliant and original aesthetic solutions, the solid and precious materials, and the details carefully implemented with wisdom and artisanal precision. The luxury that (perhaps) is not seen is the overall design quality, the avant-garde domotic technologies, energy efficiency, and utmost comfort levels preferably defined today as ”first-class user experience.”
We of Stradivari Design cherish what is immediately perceived but also the more hidden element embedded within – since both concur in achieving a common objective: making you feel good, offering you solutions at par with your expectations and in short, making you smile with pleasure every time you close your office to return home.
You can distinguish Stradivari Design architecture from any other at first glance, for a very simple reason: looking at it you can’t help but think, “I wonder what it would be like to live in it.” But the most incredible thing is that if you are a Stradivari client, you will be thinking the same thing when looking at your own home.
The interior designer is the psychoanalyst of your house, your new home that has never hosted anyone up to now and has to be helped to tune in on your rhythms, desires, and habits. Or else that old vintage house, which, after cutting across the centuries and bearing witness to so many events, must now harmonize with your very personal contemporary lifestyle. Houses, like man, possess a soul and thus have to be helped to fight the disharmonies, neurosis, and a thousand probable discomforts that can upset your serenity.
And this is our task: just as Antonio Stradivari taught his violins how to comply with the musicians in their intentions, in the same manner the designers of the company bearing his name, try to make your homes correspond under all aspects to your most authentic and profound expectations and wishes.
In a house designed by Stradivari Design, passageways are flexible, decor items are proportionate and functional to the intended use, materials endure in time, technologies are useful and energy efficient, rooms are healthy and peaceful, and each tiny detail is taken care of to suit the aesthetic tastes of the master of the house. Call it quality of life, if you wish.
Many think that industrial design is a recent phenomenon, an event restricted to the narrow timeframe of the 20th century. In reality, born from the encounter-clashing between the demands of the industrial revolution at the turn of the 19th century initially in need of industrialization and then the medieval trends of the Arts & Crafts Movement, industrial design boasts of over two centuries of history, or at least this is what the more qualified historians say. Actually we believe that history leads us further back, and precisely to the turn of the 17th century, when Antonio Stradivari still ran his workshop.
The most famous among all the violin makers in fact, had to ensure the maximum level of manufacturing perfection, an out-of-the-ordinary aesthetic quality, and also the quite impressive repeatability of each single instrument’s acoustic performance. In other words, each viola or violin branded “Stradivarius” had to be superb, totally free from construction defects, and above all, had to play like a Stradivarius.
And so, this is a typical prerogative of the mass productions of excellence: each ”piece” has to confirm the manufacturing company’s standard of excellence. Are we then so impudent as to trace the history of industrial design back to Master Antonio Stradivari of Cremona? We think not, and in fact, in carrying out our activities, we constantly draw inspiration from his modus operandi: each design, each object that issues from our study centre “plays” differently from any other found on the market, and yet, it is always perfectly recognisable; it always “sounds” like a Stradivarius.
Prestigious materials examined batch by batch to make sure that the tiniest imperfections do not show up today or in the future. Functionality, ergonomics and comfort guaranteed by specific design methodologies and severe tests. Refined aesthetics woven around the customer’s personality, and enriched by sober and elegant furnishing (because as Le Corbusier said, “decorative art needs no embellishment”).
We are not only speaking of musical instruments produced by Antonio Stradivari. We are dealing with made-to-measure furniture designed and built by Stradivari Design which after all, holds a lot in common with the Cremona Master’s violins. Come to think of it: not only your clothes are made to measure by the best tailors and your shoes manufactured by the best shoe craftsmen. Even your travels and holidays are tailored to your requests by your choice travel agent who oftentimes seems to know your tastes even better than your own kin.
And what about furniture? Even furniture may mean more to you than your clothes, shoes and travels. To whom would you entrust the task of giving form and substance to your precious home furnishing, these silent companions with whom you spend the most pleasant moments of your life?
Art and design share the same aspiration, which is, to conquer beauty, gracefulness and truth. The difference lies in the fact that while design strives to acquire also utility and concrete functionality, art generally tends to ignore these and freely indulges in what Aristotle called “free play.”
In this sense an activity defined as “art design” inevitably has a paradoxical character: it takes interest in utilitarianism and at the same time ignores it. How come? In face of these antinomies many turn up their nose and forget that as Bertrand Russell taught, all the truly important issues possess a paradoxical feature.
Here’s why we in Stradivari Design believe that an object can be rightly included in the category of “art design” only if it possesses something ineffable, undefinable and slightly paradoxical. Such an object is probably less ”useful” than a project design in the strict sense of the word, and perhaps is even less ”attractive” than a work of art. However, it possesses a uniqueness of its own which its purebred siblings do not have: it is unfathomable. It is probably due to this that when art and design do not rise to the levels of works of art, they may also be boring, whereas art design is never monotonous.
Hard to believe ? Take a look at our projects.