Creative Crossings
Maison & Objet Designer of the Year Franklin Azzi talks about his journey in architecture and why philosophy is more important than a signature style
In the architecture world, crafting a distinctive style is seen as the key to making a name for yourself. In the case of French architect Franklin Azzi, however, developing an immediately recognisable style was not his priority. Rather, throughout his career, he has indulged in his various interests to inform his work. “My desire to cross multiple approaches has always naturally led me towards new encounters and collaborations. The fact that the number of architect-artist, architect-craftsman collaborations is constantly increasing is an excellent thing and beneficial to all, from the designer to the user.”
Melding cultural inf luences and different disciplines has resulted in Azzi’s bespoke approach to every undertaking, a unique perspective, as well as a huge sense of fulfilment. Azzi’s projects range from the redevelopment of the banks of the Seine in Paris and the
transformation of the Saint Sauveur train station in Lille, France to stores and special projects for designers including Christophe Lemaire and John Galliano.
Nominated to Chevalier de l’ordre des Arts et des Lettres by France’s Ministry of Culture, which recognises the significant contribution of individuals to the enrichment of the French cultural inheritance, Maison & Objet’s Designer of the Year established himself on the global stage by taking the road less travelled, which still led to great success.
Describe your first memory of great architecture.
Paul Virilio’s work continues to have a lasting impact on me, and I follow the heritage of the exploratory approach of this thinker and builder. In terms of buildings, two projects come to my mind instinctively: The Fondation Cartier in Paris designed by Jean Nouvel, which is a reference because of its strong conceptual value, great plastic sensitivity and its timeless design and in a completely different register, the Sagrada Familia by Gaudì, because I wouldn’t be able to do it!
You’ve often talked about believing in “hybrid design”. Why do you think this is essential?
I belong to a “sampling” generation that draws and mixes references from various universes in a free and uninhibited way. We have learned to digest, assemble and recompose. I studied at the Glasgow School of Art in Scotland, a school that, a bit like the Bauhaus, represents all disciplines: industrial car design, pottery, sculpture, cabinet making and more. I went from one workshop to another because I realised that they had other skills and that taught me to see things differently.
I like the mixture of the old and the hyper contemporary. In my work, I develop architecture that’s minimalist in its aesthetics, while maximising its functionalism and environmental quality.
Tell us more about your design process.
I do a lot of research—all my work begins by trying to understand the particularity of a space. It has always been like that and continues to be so today at the agency, even now that we are a team of 70. This creative process is part of our DNA.
How do you foresee the design world to change in the future with the greater emphasis on biophilic design?
For me, the crucial question is:
How can we propose an otherwise constructible horizon? Biophilic design seeks to connect our inherent need for affiliation with nature in the modern built environment. This need is materialised in our agency’s environmental approach, which is based on sensitivity, common sense, and vernacular solutions like natural ventilation, use of recycled materials, exposure to natural light, et cetera.
We know that particular attention must be paid to the superstructure of buildings which, like all design elements, must ref lect the notion of sustainability in terms of efficiency, waste reduction, longevity and maintenance. To counterbalance the excessiveness of the era of large works, it seems essential to me today to create at a human scale—to put the body back at the centre of the experience and to reinvent spaces in a global vision, adapted to the new contemporary paradigms.