Milan Design Week and Salone del Mobile.Milano is as much about the people as what’s presented. We spoke to six leading voices, including Milan-based architect Hannes Peer, about their latest work and shaping the future of design.
You studied at the Polytechnic University of Milan before completing your studies in Berlin. You then went on to work in Rem Koolhaas’ studio in Rotterdam. How have these different formative learning experiences influenced the way you design today?
Hannes Peer: Berlin and my time studying at the TU there holds an indelible place in my professional journey. During this period, my passion for architecture flourished under the mentorship of professors like Peter Mussotter. His studio class was transformative, challenging us to break free from conventional thinking and embrace innovation.
Rem Koolhaas profoundly influenced my architectural outlook, emphasising the necessity of continuous curiosity. While my time at OMA in Rotterdam was short, its impact was immense. Within OMA’s environment, the schematic design phase was particularly captivating. This stage involved a meticulous process of research and ideation, delving deeply into the contextual intricacies of each project.
Hannes Peer: You founded your architecture and design studio in Milan in 2009, building a portfolio of high-end retail, hospitality, and residential spaces. Why do you believe your work has appealed to fashion brands such as N°21?
My approach to design is deeply rooted in research, reflected in mood boards, reminiscent of carefully curated movie strips. There’s no room for a one-size- fits-all formula; each of my projects demands a bespoke approach tailored to the specific vision and audience.
Hannes Peer: My experience in retail design has been illuminating in this regard. The pace is relentless, with everyone working towards a singular goal within incredibly tight timeframes. Surviving the crucible of retail design equips one with the resilience and adaptability necessary to excel in any domain of architecture or interior design.
When we profiled you as part of our ‘esteemed 10’ series in 2022, you described your approach as ‘eclectic, functional, bold’. Have you observed an evolution in your approach, or has it remained consistent throughout your career?
Hannes Peer: Eclectic, bold and functional form the cornerstone of my design philosophy. Yet, what sets my approach apart is a conscious departure from “the aesthetic of the now”. Design tethered to trends is inherently unsustainable. Instead, I aim to create timeless architecture and design pieces, contemporary classics that possess a ‘raison d’être’ both today and in the future, transcending the ephemeral nature of passing trends.
Architect Hannes Peer | Photography by Danilo Pasquali
‘The Clearing’ by Hannes Peer and Belgian stone company Van Den Weghe was presented at Hannes Peer’s architecture studio during Milan Design Week. Featuring a series of sculptures in travertine and marble, the collaboration reflects a blend of architecture, art, interior design and urban planning.
‘Imperfections, nostalgic utopia, and future archeology’ also headline your Instagram page. Why are these central ideas to your practice, and how do they manifest in your work?
Hannes Peer: In my approach to architecture and design, imperfections are not viewed as flaws in the final product but as integral elements that emerge throughout the design and construction process. These unexpected events and occurrences often lead to outcomes that are rich in character and uniqueness. I am drawn to the contemplation of bespoke, artisanal craftsmanship – the notion that each piece carries a unique story and a human touch, transforming it into something meaningful and, therefore, more permanent.
“Nostalgic utopia” is a term I’ve coined, trademarked, and embedded within my architectural and design ethos. It serves as a guiding principle, encapsulating the essence of my research process – a pursuit akin to mining for precious ideas. This methodology involves deep dives into historical and social contexts.
Your Instagram page features your observations on various architectural projects. Why is it important to you to highlight these projects among your own work?
Hannes Peer: In my quest to illuminate the essence of architectural works, I deliberately curate pieces from diverse eras, each chosen for the richness of its underlying concepts. I’m captivated by enduring ideas that transcend temporal boundaries. I am particularly fascinated by how filmmakers utilise architecture as a narrative tool.
I believe in the learning from a wide spectrum of architectural expressions, from the sublime to the kitsch. Through this comprehensive exploration one gains a deeper understanding of the art form. As Rem Koolhaas aptly taught me, architectural beauty alone does not guarantee interest; conversely, seemingly unattractive structures can hold profound layers of intrigue.
You have designed collectible pieces for Nilufar Gallery and SEM.Milano in Milan, as well as Blend Gallery in Rome. What is the role of collectible furniture pieces in contemporary design?
Hannes Peer: Collectible pieces stand as vanguards in the realm of design, poised to challenge conventions and redefine boundaries. This pursuit demands rigorous research, whether delving into materials, forms, shapes, functions or concepts.
Boldness is paramount; it is the hallmark of authentic collectible design. Yet, lamentably, much of what passes as collectible design today gravitates towards the mainstream.
“The intentional voids between these forms illuminate the ephemeral nature of existence and the continuum of being,” Peer says.
You have said before that while you’ve lived in many cities, Milan always ‘pulls you back.’ What is it about Milan that makes it the right place for you to design and live?
Hannes Peer: Milan is a strange city, a city that is simultaneously provincial and metropolitan, a gateway for architecture, design and fashion, yet it is very small compared to London, Paris and New York. It is small, yet it competes with these city giants. It has incredible architecture from all eras and incredible restaurants. During Salone, the city becomes this creative wild beast. It has pushed me down and lifted me up during my career. It is not an easy starting point for a career, but no city is. I found the love of my life here.
As a professor, what do you see as the biggest issue or challenge facing Italian design in 2024?
Hannes Peer: My greatest hope for 2024 is to go back to the roots of architecture and design, focus on its functionality, real issues, and real materials and become interested again in comfort and sustainability.
The world needs sustainable interior design and design, quality products and an architectural approach that lasts and creates a sense of comfort and stability, maybe even protection in these particular times. At the same time, we shall never forget to inspire with our projects, long for utopia, keep the dream of a better tomorrow alive and at the same time build ourselves a solid cultural background. ‘Nostalgic utopia’ is a projection into the future without forgetting where we come from, a license to dream big with a solid floor to stand on.
You have collaborated with Belgian company Van Den Weghe on an installation ‘The Clearing’ for Milan Design Week 2024. Where did the idea for this collaboration begin, and how does it express your shared approach to materiality?
Hannes Peer: In The Clearing installation, totemic sculptures made of travertine act as symbols of both being and non-being, of materiality and ethereality. The intentional voids between these forms illuminate the ephemeral nature of existence and the continuum of being. This initiative underscores the importance of interdisciplinary collaboration, merging Van Den Weghe’s mastery in stone processing with our cutting-edge design. The result is the transformation of my Milanese studio atelier into a space where tangible and intangible realities blend, discovering new artistic perspectives through a journey of deconstruction and metamorphosis.
The Clearing opens a dialogue on architectural complexity, encouraging a passage beyond conventional functionality towards a nuanced understanding of the interaction between interior design and architecture. At the conclusion of this artistic journey, The Clearing artworks will be integrated into Tanguy Van Quickenborne’s esteemed collection in Belgium.
What do you do in your downtime?
Hannes Peer: I paint and build my sculptures. I do a lot of research also.
