My work in biophilic design is rooted in a continuous return to ways of making that predate full industrialisation—when materials were understood through touch, time, and practice, rather than selected from catalogs. I look to traditional techniques not as references from the past, but as living knowledge that reveals how matter behaves, ages, and responds to its environment.

I believe craftsmanship carries meaning because it is relational. Every material has character, limits, and potential, and the act of working with it is a dialogue rather than an imposition. When we engage directly with matter—mixing, shaping, testing, and observing—we develop forms of intelligence that cannot be outsourced or standardised.

Through this approach, my practice seeks to create spaces and objects that are sensorial, responsive, and deeply human—where design emerges from an attentive relationship with material, and where making itself becomes a source of value, care, and soul.