Interview about Fragments Sustainable Decorative Objects, winner of the A' Sustainable Products, Projects and Green Design Award 2025
Fragmentos is a collection of sustainable decorative objects crafted from upcycled marble that would otherwise be discarded. Each piece (vases, candlesticks, and a side table) follows a circular design approach, where the core of one element becomes the raw material for another. This innovative process maximizes material efficiency while preserving the natural beauty of marble. The result is a timeless collection that blends contemporary aesthetics with responsible craftsmanship, transforming remnants into sculptural works of art.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThank you — I'm happy you noticed this aspect of the work, because it truly reflects the heart of Fragmentos. The nested manufacturing process wasn’t just a design solution, it was a philosophy that emerged naturally as I engaged more deeply with the material. I was working with marble remnants — beautiful but often discarded pieces — and I saw potential in every fragment.Instead of treating waste as a byproduct, I began to see it as the beginning of the next object. From the core of a table, a vase was born; from the core of the vase, a candleholder took shape. Each negative became a positive, and this nesting of forms allowed me to honor the full life cycle of the stone. It was an organic evolution — both creative and ethical — that challenged me to think not only in terms of aesthetics, but also in terms of continuity, responsibility, and storytelling.In the end, Fragmentos became a celebration of what remains — a poetic way of turning absence into presence.
For me, combining craftsmanship with CNC technology was never about contrast, but about continuity. The hand and the machine aren’t in opposition — they complement each other when guided by clear intention. Fragments was born from a desire to offer a new perspective on what is typically discarded, and to do that, it was essential to merge the artisan’s sensibility with the precision of digital tools.CNC allowed me to extract the maximum potential from each piece of marble — with accuracy and minimal waste, something that would be nearly impossible to achieve through manual processes alone. But it’s in the hands of the craftspeople that each object truly gains its soul: the touch, the polishing, the final detailing. It’s the subtle imperfection that gives the piece its identity.This fusion not only deepened our commitment to sustainability, but also made it possible to reach a visual and tactile softness — a quiet aesthetic that feels almost as though the object emerged naturally from the stone itself. I believe it’s this balance between technical precision and human gesture that truly brings Fragments to life.
That was, perhaps, the most beautiful challenge of the Fragments collection — to elevate what was once considered waste into something worthy of admiration, care, and presence. I’ve always believed that luxury is not about excess, but about intention. True elegance lies in the way we choose, the way we craft, and the meaning we assign to materials.The marble offcuts I worked with carried scars, irregularities, and unpredictable veins — and instead of hiding them, I chose to reveal and celebrate them. Each imperfection became a feature. Each fragment, a story. The design process focused on enhancing these unique characteristics, framing them within soft, fluid forms that speak of refinement and timelessness.By combining thoughtful design with artisanal finishing and high-precision technology, I was able to maintain the tactile and visual richness expected in luxury pieces, while embedding them with a deeper value — one that honors both the material and the act of transformation. That, to me, is the new definition of luxury: beauty with purpose.
Material optimization was not just a practical concern in Fragments — it was the very foundation of the design language. From the beginning, I approached each marble remnant as a finite, precious resource, and this shaped every decision regarding scale, proportion, and composition.The dimensions of the side table, for instance, were determined by the maximum usable area of a standard discarded slab. From there, the inner core — the negative space left behind — naturally defined the size of the vase. The same logic applied again when extracting the candlestick from the remaining center of the vase. This sequence created a kind of dialogue between the pieces: each one born from the void of the last, each one echoing the form that preceded it.It was a deeply intuitive process, but also guided by a kind of architectural precision. Every curve and thickness had to respect both the structural integrity of the marble and the harmony of the ensemble. The result is a collection where nothing is wasted, and everything is connected — spatially, formally, and emotionally.
Absolutely — circular design was not just a reference point, but a guiding principle throughout the entire development of Fragments. Early in my research, I became fascinated by the idea that waste is not the end of a process, but the beginning of another. This shift in mindset deeply influenced how I approached both form and function.Rather than designing individual objects, I started designing systems — relationships between volumes, negative spaces, and material flow. The concept of nesting, of one piece emerging from the core of another, was born from this investigation. It allowed me to minimize waste while giving new meaning to absence — turning what would have been discarded into the genesis of a new form.In production, this translated into a methodology where every decision — from slab selection to cut strategy — was rooted in respect for the material’s full potential. Circularity became not just a sustainable practice, but a poetic one. Fragments is, in essence, a material conversation: an exploration of continuity, purpose, and beauty found in what remains.
Thank you — achieving visual cohesion within such tight material constraints was both the challenge and the reward of Fragments. I approached the design process with a strong commitment to continuity — not just in material usage, but in visual language. Each piece needed to feel distinct, yet part of a greater whole.To guide the aesthetic, I focused on principles of softness, balance, and silence. I avoided sharp angles and sought continuous lines that could flow naturally across forms, as if the pieces had been shaped by time, not tools. Proportions were carefully refined to maintain a sense of harmony, even as each object differed in scale and function.The constraint of nesting actually became a source of elegance — it demanded restraint, clarity, and intention. Rather than force complexity, I allowed the form to emerge from the material’s own logic. The result is a collection that feels serene and unified, precisely because every decision honors both the stone and the story behind its transformation.
I truly believe that Fragments is part of a larger movement — one where luxury and sustainability are no longer seen as opposites, but as partners in shaping a more conscious future. For too long, high-end design has prioritized rarity and perfection, often at the expense of resources and meaning. But I see a shift happening — a quiet revolution where value is measured not just by exclusivity, but by intention.With Fragments, I wanted to show that sustainability doesn’t require compromise. In fact, it can elevate the creative process. By working with what already exists — by listening to the material, embracing its history, and designing with care — we create objects that carry both beauty and depth.I hope this approach inspires others in the industry to rethink what luxury can be. Not just polished surfaces and flawless finishes, but design that tells a story, honors material cycles, and invites emotional connection. That, to me, is the future: sustainable design that is not only responsible, but irresistible.
The hand-polishing process is where the soul of Fragments truly emerges. While the machine offers precision, efficiency, and the ability to optimize material use, it is the human hand that brings warmth, subtlety, and individuality to each piece. That contrast — and harmony — between digital and manual is essential to the collection’s character.The soft curves and flowing lines created through CNC cutting are only fully revealed through touch. The hand-polishing allows us to respond to the natural veins, the unexpected textures, and the nuances of each fragment of marble. It’s not about correcting what the machine did — it’s about listening to the material and elevating what’s already there.This balance is what gives the collection its quiet power. It feels refined, but not cold. Sculptural, yet intimate. Each object carries the memory of the hand, the trace of care — and I believe that’s what resonates most. In the end, people don’t connect with perfection; they connect with presence. And that’s what the hand finishing offers: presence.
Winning the Iron A’ Design Award with Fragments was an honor — but more than that, it was a reaffirmation that sustainable design has a place at the table of innovation and beauty. If there’s one insight I would share with other designers, it’s this: sustainability is not a limitation — it’s an invitation.Working with discarded materials taught me to shift my perspective. Instead of beginning with form, I began with what already existed — the marble remnants — and asked myself what they wanted to become. That shift in approach opened up new creative pathways and forced me to design with greater intentionality, sensitivity, and respect.Another key learning was that sustainability is not just about materials — it’s about process, narrative, and emotion. When we design sustainably, we’re not only reducing waste; we’re telling a deeper story about value, care, and connection. I hope Fragments encourages more designers to explore the poetry of what remains, and to see the extraordinary in the overlooked.
From the very beginning, I envisioned Fragments not just as objects, but as presences — pieces that would live in dialogue with their surroundings. I wanted them to feel rooted, yet open; quiet, yet compelling. Spatial dynamics were central to every design decision, because how a piece occupies space is just as important as the piece itself.The circular forms, soft silhouettes, and varying heights were all chosen to invite a sense of flow and ease within a room. These objects are meant to breathe — to leave room around them — and in doing so, they create a sense of calm and intentionality in the environment. I was particularly interested in the negative space each object created, and how those voids could speak as powerfully as the solids.Their sculptural quality invites movement — not only physical, but emotional. I wanted the viewer to feel compelled to walk around them, to get closer, to touch. In that sense, Fragments is not a static collection; it’s a spatial conversation between material, form, light, and the human body.
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