Right from the early Fifties onwards, the young Sottsass took on and tried his hand at architecture and design, determined to get to grips with the laws, the tensions, the potential and the criticalities involved in working with space. He explored the unknown and suggestive world of plastic forms, which drove his incredible output, still being sold by companies he worked with such as Venini and Bitossi.
The experimental nature of his work went deeper than the cultural tensions of his time, pursuing a magical understanding of the meaning of form. He used his head and his hands to try and fathom the secrets of a line that then becomes a curve, that then becomes a complicated design, that then becomes coloured or striped surfaces.
His entire oeuvre, be in in ceramic or glass, stands out for its simple, honest forms, which often reconnect with traditional Italian craftsmanship, despite being characterised by his own unmistakable style. He did not set out to be artistic, rather aiming for full, well-developed forms, compositions made up of a number of pieces that could be used together, one inside the other, or separately. The value of his design rests in its simplicity and freshness, in his ingenuous and playful humour, which brings warmth to his objects.