Interview with Nika Zupanc

Interview - 19.06.2019

Interview with Nika Zupanc Cosentino

In this conversation Vanessa Feo, Head of International Communication for Cosentino, interviews Nika Zupanc, globally recognised product and interior designer. What is the first material, the first spark to start designing a product? What path do you follow in your creative process?Nika Zupanc (NZ): For me it is very important who I am working for, because I am of course an industrial designer, so the product is always a combination of your philosophy and philosophy of the company. So the initial brief always comes from the company. Then it depends whether the company has its own material that it works with, if this is the case, then you concentrate on that material, and you work with that material. Then you have companies that don’t have their own technology, and in cases like that you start from different points. But it’s always combination of the material, for me the innovation in the material is very important, so is how to use the existing techniques in a new way. And then of course it is just the combination of the function, the appearance, the colours, etc. But it really depends on each product, always it&rs

Interview - 21.12.2018

Arik Levy visits Cosentino

Cosentino City Madrid

El artista, diseñador industrial y fotógrafo, Arik Levy visitó el 17 de diciembre Cosentino City Madrid. Nacido en Tel Aviv, Levy se formó en el Art Center Europe de Suiza. Desde su estudio parisino ha viajado hasta Madrid para participar en un conversatorio con Vicente Porres (Noviembre Estudio) sobre el proceso del diseño. Al evento asistieron clientes y colaboradores de Cosentino y se organizó en colaboración con la revista Room Diseño.Arik Levy:“La creación es un músculo sin control. Vemos demasiado, pero no sentimos suficiente, así que cuando diseño intento sentir lo que me conecta con la mente.”“Mi material preferido es la emoción. Si pongo una sonrisa en la cara de alguien, entonces es que algo bueno ha pasado.”


Interview - 19.11.2018



Renzo Piano discusses with Luis Fernández-Galiano his professional itinerary in Genoa, at the house adjoining the studio of the Italian architect. Interviewed in his home and workshop at Punta Nave on the eve of turning 80, Renzo Piano and Luis Fernández-Galiano comment on the first steps of his career and his latest work, the Botín Centre. Luis Fernández-Galiano: Thank you so much for receiving us in your home here in Punta Nave, near Genoa, your hometown, where you were born almost eighty years ago. You turn 80 in September, and this is perhaps a good moment to go through your biography. An asteroid was recently named after you. Only Buckminster Fuller has something like that, a molecule named after him. An asteroid is larger, 5 kilometers in diameter!Renzo Piano: I think everybody has a star somewhere.LFG: You were telling me before that everybody needs an inner compass, as ships do, to guide them in life. I would say that your inner compasses are building on the one hand, and people on the other. Building for people. Were these your two references in youth?RP: I use the word ‘compass’ bec

Interview with Ron Arad

Interview - 21.11.2017

Interview with Ron Arad Cosentino

The prestigious designer Ron Arad shares with us details of his professional life during his visit to Dekton Cosentino´s showroom in Almería. How was the beginning of your career?Ron Arad (RA): I never thought of it as a career. I mean I’m doing the same thing now that I did when I was 8 years old. It also had to do with the pencil and drawing and talking. My mother was a painter, and every time she saw me doing a fantastic drawing as a child, she didn’t say: “He’s going to be a good artist.” She said: “He’s going to be a good architect.” She was afraid about art. She thought – she was wrong! – that architecture was more solid as a profession than being an artist. How wrong she was! But when I came to London in 1973, it was a time when no one was building anything in London. Absolutely nothing. So the AA was more like an art school than the art schools because there was freedom from reality – from building, from budgets, from contractors, from floor slabs. Everything was on paper. This was before computer renders and computer modeling. It was t