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Anna Gili talks about the Wonderloft in an interview

You live in a loft: why did you choose to do this?
I chose the space which was to become my loft in a building which was to be renovated. It was very spacious, with walls of 8 metres high – just right for the realisation of any environment I wanted to create.
Thinking of a house and imagining all its rooms is really fascinating; what’s more, that place had a roof just like in the industrial architecture that I remember seeing when I went through my history books at primary school, like in the Sironi pictures, in my first encyclopaedia on Modern Art by Mondadori, and partly in my hands-on experience in my parents’ knitwear trade in Umbria, a great big rectangle with no rooms. Now at that time, I was used to living in a Medieval context, and for me industrial architecture was really fascinating.

Can you tell us why you prefer to give colour such an important role in the rooms?
The loft is the design of a space where colour plays the main character in the definition of the rooms.
I could perhaps compare it to a tridimensional painting which you can actually go into and walk around. The space which you go across is conceived in an engineered and Gestaltic manner; the colour is form and structure, from which the various spaces are then articulated: the day zone, the long corridor-kitchen; the night zone and the upstairs with the guests’ room and the study.
The project is developed around an idea of harmony of different chromatic surfaces and different colours applied onto them.

To my way of thinking, this is a macro painting which is turned into a living environment, the inverse process to what a painter who paints a room does, bringing real experience into a flat bidimensional canvas.”

To me, the loft is also a thinking space, where I keep the objects I have created – albeit in a rather disorderly fashion. All the things, the objects, the paintings, the prototypes and all the parts of my work as if I were setting up an ambient in which each and every part were to be painted.
Let’s say it’s just like a painting of one’s own thought turned the other way around.
First I made the objects a reality, then in the end the actual structure itself and the sense of all the work.
The objects inside are all my own work, but they are the main or base structures of other forms.
Therefore they represent my creative world: some people hate surrounding themselves with their own things, but I find it useful to place them in a spacious, extra large area, together with other objects which have been given to me, or that I have picked up on my travels, so as to help me to go further into and ahead with my creativeness.

What wouldn’t you be able to ever do without in your house?
Animals; I would love to have a monkey and a lion, but for practical reasons I have a cat and a dog.

Where do you get inspiration for your work from?
The question is quite complex because it involves a lot of different considerations.
The first question is simple to answer: the Umbrian culture which I have symbiotically breathed in throughout my infancy and adolescence is the supporting structure of my inspiration.
If we then want to go on to complicate things, we could speak of the previous influence of the Indian culture, from which the name Umbria derives. And then the fact that a lot of Japanese friends frequent Milan, and they have guided me in the understanding of religious and philosophical culture which I perceive in the organic aspects of Japanese design.


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Special Projects
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Brand & Companies
Tantissime le aziende che si sono rivolte allo studio Anna Gili per realizzare oggetti di design. Tra queste: Alessi, Bisazza mosaici, Byblos Art Hotel...
Visita la sezione press per consultare alcune delle riviste specializzate e delle riviste internazionali che si sono occupate in maniera specifica dello studio Anna Gili.