D: How does the inspiration for your creations originate?
R: There isn't a precise moment when inspiration comes. In my profession you start when you're young to think about colours, shapes, the design of the environment, and you build experience. After a few years you create a sort of dictionary, like a writer. You start reading novels, poems by others, and slowly you start getting an idea of what literature is, of what is a written page.

D: How do you choose the materials?
R: This is an important element of the actuation of a dictionary where new words are constantly added, looking around, becoming aware of the changes within society's language. It is like a language: one hears the kids on the street, and some words you use in your writing because you want to convey some meanings. One wants to say popular things, the other political, and they use words that help expressing themselves in a certain way. Here I wanted to communicate mostly with furniture, but also with glass, capturing them in their sensorial quality: with colours, with transparencies, lightness, fragility. And the same goes for the furniture, with the choice of different materials: polished surfaces, wood, metal.... Putting different materials together means something, means that you do not have any fixed conventions on the materials, and that spaces for research can expand.

D: Do you live in a constant evolution?
R: There is a continuous transformation, a continuous attention and curiosity for what is going on, and for the meanings in what you are doing, and for the relations with society itself.

D: You have worked with all materials, steel, wood, glass... Where does this polyhedric nature of choice come from?
R: It is because I am curious, I am interested in all the sensations that different matters offer. It's like in a dress: you can wear an opaque coat with a shiny T-shirt. In clothes too you combine a multitude of materials to 'design yourself'. If I want to design something, and tell it through my design, I must know this dictionary, which is quite complex. I don't consider myself an industrial designer, but a theoretical designer: I experiment for this reason. These experiences entertain me and intrigue me, these combinations of shiny and opaque materials.

D: Where is modern design heading?
R: That depends. Industrial design is more and more influenced by markets and costs. This is also because markets expand constantly and therefore we must design products which, from an industrial point of view, can be sold on wider markets. This is a basic theme that holds some corollaries. For example, a design today, rather than having financial contents, becomes a stylistic element. You must always surprise the market with something different, something new. The attitude changes. I don't belong to this type of problems, I try to understand what is the creation of a language that concerns design.