My career path has always been consistent, and Desalto is no exception. Gordon Guillaumier, the company’s artistic director, saw my pieces at Rossana Orlandi’s and then thought about producing a capsule collection to narrate Desalto’s DNA. Initially the industry wasn’t involved, so we could explore the limits of the material, backed up by ten years’ experience. That meant that I could submit unfettered projects, there was no precise brief. As soon as Gordon saw my pieces, he immediately thought about industrialising them, and that’s how the Void collection came into being, but without detracting from my work. Desalto was the best company for me because they allowed me to work there. I have always presented myself with physical models. I work to scale a lot, not in terms of representation but as regards structure, which makes it possible to set up both dialogue and interchange. The other piece I made for Desalto is the MM8 table, which I had created for a private client in Milan. They understood the potential of this object and decided to put it into production, making some structural modifications to respond to specific production requirements. That meant making the top thicker while the aluminium legs were replaced with coated wooden legs. I found it a stimulating opportunity to test the industrial constraints and see how two different worlds could come together.