Joris Poggioli has been shaping a unique sculptural world since 2017, where form takes precedence and materials are elevated to their fullest expressive potential. As both an architect and designer, he masterfully intertwines his French-Italian heritage, blending the refined elegance of France with the subtle eccentricity of Italy. This cultural duality results in creations that are both sophisticated and daring, embodying a timeless aesthetic that seamlessly adapts to diverse spaces—whether historical or contemporary. His approach, rooted in both freedom and discipline, transforms everyday nuances into strikingly poetic designs.
With a strong architectural vision, Joris Poggioli crafts objects and spaces that transcend fleeting trends, ensuring each piece stands as an independent artistic statement while harmonizing within a broader design narrative. His work, often described as a dialogue between form and sculpture, strikes a balance between simplicity and complexity, creating a lasting visual impact. This commitment to excellence has earned him a place among the AD 100 best in architecture and design for four consecutive years, further cementing his reputation as a visionary in contemporary design.
Greetings to our avid readers and allow us to welcome Joris Poggioli, an immensely talented architect of sublime design. Thank you for letting us pick your creative brain. We would love to know about your humblest beginnings. Describe to us your very first creative experience, whether it is something you created or something you witnessed come to fruition.
As a child, I was fascinated by LEGO. The idea of creating my own world always appealed to me. I also used to build small wooden houses for birds with my grandfather during the summer. Later on, I got quite obsessed with The Sims, but I would only build the houses—I never actually played the game! I think this instinct to construct, to shape spaces, has always been there. It was never just about playing; it was about designing, about imagining something and making it real.
How long did it take for you to feel comfortable as an artist? What milestones did you achieve along the way to cement your professional repertoire?
I don’t think I ever fully felt comfortable as an artist, and I probably never will. But there was a defining moment. A very famous actress once asked me to design a table for her. She gave me a budget. I was on vacation at the time, with nothing but my sketchbook. I quickly sent over a few drawings, she loved them, validated everything, and we sold the table for an absolutely crazy price. That was the moment I realized I could actually live off my drawings. But even now, I still feel like I’m always searching, always refining.
It’s so wonderful how your work blends the elegance of French design with the subtlety and eccentricity of Italian style. How have your French-Italian heritage and upbringing shaped your artistic vision and approach to design?
I think my French-Italian heritage gave me a balance of discipline and freedom. From the French side, I took refinement, elegance, a certain rigor. From the Italian side, I embraced joy, spontaneity, the belief that anything is possible. Italy also played a crucial role in my work because its craftsmanship is simply extraordinary. My connection to artisans, to the hands that shape things, has always been essential in my approach to design.
Since 2017, you’ve been creating your own sculptural world. What prompted this shift in focus from architecture to the sculptural realm, and how has this influenced your design philosophy?
I trained as an architect, but I spent a lot of time in my uncle’s studio—he’s a sculptor. He taught me how to see, how to feel things with my hands. That was a huge shift for me. Now, I consider myself more of a sculptor than an architect or a designer. Architecture gave me structure, but sculpture gave me intuition. I think that’s why my work often navigates between the two. It’s not about creating objects or buildings; it’s about shaping presence, about giving matter a voice.
As an architect, you’re known for creating both timeless objects and spaces. Can you share your process for ensuring that a piece of design or a space feels timeless yet also relevant to contemporary contexts?
Timelessness is an illusion. No one can predict if something will enter history or not. I believe the most important thing is to satisfy your heart. To transmit emotions. That’s what truly matters. Because emotions, more than anything else, are timeless.
Do you believe that the power of form is something that transcends historical and contemporary boundaries in design? How do you see this idea reflected in the way your works interact with different environments?
Yes, I believe that form is everything. I reject the idea of form follows function. Instead, I believe form follows emotion.
Because the heart is often touched by the eye before it knows if something is comfortable or sustainably made. This approach allows objects and spaces to communicate with each other, like Plato’s particles—always in movement, always searching for balance.
Many of your projects seem to celebrate harmony between the intricate and the beauty of simplicity. What guides your decision-making in balancing complexity and minimalism?
Complexity is in my mind, because I consider everything before arriving at almost nothing. My team can confirm this—I will sketch a hundred tables just to arrive at one. The same goes for an interior. It’s a very time-consuming way of creating, but I need to make and unmake, to search, like a sculptor. Creation, for me, is an act of elimination. You keep chiseling away until only the essential remains.
You’ve been recognized as part of the AD 100 for several consecutive years. What does this recognition mean to you, and how does it influence your future design endeavors?
I try not to get too attached to rankings because it’s difficult to measure creativity. But of course, recognition from your peers brings credibility to the public and to clients. At the same time, I see it as something external. The real work happens in the studio, in the process, in the search. That’s what truly matters.
