Throughout history, Sicily has been a melting pot of cultures, each leaving an indelible mark on its architecture. From the ancient Greek ruins, considered among Europe's most significant, to the imposing Baroque structures and the enchanting Arab-Norman art, the island's landscape is a living museum. It is in this rich, historical tapestry that our featured designer, Angelo Larecchiuta, was born and raised.

Born in Caltanissetta, Italy, in 1991, Angelo's passion for organic and contemporary forms led him to study architecture. His design journey, deeply influenced by Sicily's diverse architectural heritage and his international experiences, took a fascinating turn during his Erasmus program in Germany in 2016. There, he was introduced to parametric modeling, a skill he mastered during the COVID-19 period while exploring the potential of 3D printing.

This exploration sparked the vision for Shapeless, a groundbreaking brand that crafts unique, customizable decorative objects. Angelo's innovative approach allows customers to become co-designers, shaping their purchases or leaving a personalized mark on gifts for loved ones. Today, we sit down with Angelo to discuss his journey, his vision, and how he's revolutionizing the world of decorative art through 3D-printed vases.

1. Angelo, you grew up in Sicily, a region renowned for its diverse architectural styles. How has this rich heritage influenced your design philosophy, particularly in your transition from traditional architecture to digital, parametric modeling?

From a young age, I've had a strong interest in architectural history. I was particularly drawn to the contemporary designs of architects like Zaha Hadid, Frank Gehry, and MAD architects. Their use of organic shapes and complexity sparked a passion and fascination within me. However, I found that bringing these ideas to life in the construction world takes a significant amount of time, and I prefer faster results. That's when I turned to product design, which allows for quicker realization, especially with the use of 3D printing. This not only accelerated the realization of my ideas, but also allowed for unique shapes with each iteration. All of this was made possible through parametric modeling software.

2. During your Erasmus in Germany, you discovered parametric modeling. Can you share a pivotal moment from that time that made you realize the potential of this technique, eventually leading to the birth of Shapeless?

In 2017, during my Erasmus, I learned about the traditional way of modeling architecture and objects. However, I discovered a completely different method through LinkedIn that could generate organic shapes and manage their complexity. Intrigued, I decided to participate in a free class dedicated to the parametric software called Grasshopper. Unfortunately, I left the class after the second lesson because I found it difficult to understand the software, and the lessons were in German, a language I didn't understand. Despite this, those two lessons ignited my passion for parametric design. After graduating, I made a choice to learn this technique by attending webinars and enrolling in a course taught by Arturo Tedeschi, a prominent figure in parametric design.

3. Your brand, Shapeless, offers customers the unique opportunity to be co-designers. What inspired this participatory approach, and how do you see it changing the relationship between creator and consumer in the design world?

Shapeless means without a clear form, that can take infinite shapes. "Shapeless" refers to a brand where customers personalize their own objects based on a design model. In today's world, people want to be active participants in their purchases, and I want to offer this opportunity to everyone to become a co-designer. Consumers are now more informed and conscious of their preferences, often storing information about colors, numbers, and shapes from social media, magazines, and news. When it comes to buying design products, they often struggle to find exactly what they want. While customization is the future of design and e-commerce, "Shapeless" takes it a step further by allowing consumers to use their stored images to actively participate in the design process. It's a future where designers provide the foundation of a product, and customers complete it with their personal touch.

4. You've chosen vases as your primary medium. In a world full of mass-produced decor, why do you believe 3D-printed vases can serve as a powerful form of personal expression, similar to the handcrafted treasures of Sicilian artisans?

The vases are just the beginning for Shapeless. In the future, I plan to expand the collection to include lamps and other small furniture items. It's true that the world is filled with mass-produced goods, but this approach has a major limitation - each collection typically offers just one basic shape. While customers may have some input on colors and sizes, the options are still quite limited. With Shapeless, however, I aim to overcome this limitation by leveraging 3D printing and a parametric approach to offer a wide range of design options. This goes beyond the constraints of mass production. As a result, clients can obtain a unique, artisan-crafted design product, created based on their own aesthetic preferences.

5. The COVID-19 period was challenging for many, but for you, it became a time of creative exploration with 3D printing. How did the constraints of lockdown shape your artistic journey, and what unexpected opportunities did you discover?

Before the lockdown, I was already working for an English architecture firm remotely, so I was used to staying at home, but I could go out during the day or at night. With the lockdown, I continued to work, but I had to stay at home all the time, even in my free time, and this made me feel stressed. I decided to quit my job and dedicated some of my time to exploring the potential of 3D printing with a friend. During this period, I observed that most 3D printing enthusiasts were printing objects in a way that mimicked mass production, resulting in static products. This led me to question why we couldn't push the potential of 3D printing and go beyond the norm. I envisioned a new approach that combined the versatility of 3D printing with parametric design, empowering consumers to be part of the design process and opening up new frontiers in design.

6. Sustainability is a key focus for Shapeless. You use PLA, a biodegradable material derived from corn and sugar cane, and employ on-demand 3D printing to reduce waste. In an industry often criticized for its environmental impact, how do you see these practices shaping the future of sustainable design and production?

The world is in the hands of us young people, and we need to protect and respect our environment, leaving it in a better condition for the next generation. To contribute to sustainability, I use biodegradable materials. Additionally, 3D printing has low energy consumption, resulting in less impact on the environment. All production is ecologically optimized and demand-based.