Piero Quintiliani, the designer who invent the reality
Piero Quintiliani, born in 1977, began his career working in goldsmiths and metals workshops. He moved to Rome and enrolled in the ISIA (Superior Institute for Artistic Industries). While studying industrial design he began his first important collaborations that allowed him to design products for brands such as Addex design, Bontempi, Tim, Telecom Italy.
Among these, “Kamilla”, a digital alarm clock for children produced by Oregon Scientific, participated in the prestigious Premio Compasso d’Oro ADI. Quintiliani’s studio, Pq design, works for notable companies operating in various fields such as furniture, beauty and the electro-medical sector. Aside from being designer and art director he also teaches at the Italian Institute of design in Perugia and at Sapienza University in Rome. Pq design is an open space in the center of Rome, where knowledge and multidisciplinary expertise merge. A versatile venue that hosts activities that are complementary to the design and development of products such as marketing, graphic design, communication, construction of prototypes, and photography.
A environment that’s visibly consistent with the founder’s way of thinking: “My work stems from the need to reinvent the world, to improve it, make it more comfortable and more attractive. It’s essential to have curiosity and the desire to understand the world around us. The designer is like a reporter – explains Piero – always ready to capture any changes and to understand the evolution of taste and then express something concrete. Those who are in this field must have ‘anthropological sensitivity’ and the ability to observe society: grasping cultural changes also means adopting a point of view that is always different. Changes always require a new way of doing things. And design does just that: each time it reinvents the rules to materialize what wasn’t there before.” Constant attention, therefore, to the creative process and its result. “Objects are vehicles of information: visual, tactile and cultural. I’m interested in the quality of this message and its perception, in addition to the technical aspect. I think of my creations by ignoring patterns, rules. A product is truly original when it’s nonconformist. Generally I try to untie myself from the codes of passing fads so as to design objects that endure over time; objects with a meaning and a recognisability that never expire.”
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