Arianna Lelli Mami and Chiara Di Pinto, alias Studiopepe, have built up a recognisable and personal language over time, reflected in a rich and sophisticated vocabulary of materials, unexpected combinations and sensory surfaces, in an ideal balance between formal rigour and poetic vision, with an emotional impact that never fails to surprise.
Their vision embraces all scales of design with the same evocative force – from product to space, from indoor to outdoor – interpreting an idea of contemporary living in which interior and exterior exist seamlessly.
What elements, in your opinion, define contemporary living, both in terms of values and new living habits?
Contemporary living is a place where work and personal time, reflection, sharing, technology and materials coexist without rigid hierarchies but through fluid balances. We believe that the desire for emotional well-being comes before aesthetic well-being. A “beautiful” home is above all a home where you feel good. Otherwise, it remains a sterile shell, perhaps to be admired, but which does not fulfil its primary functions. The home is increasingly an extension of the identity of those who live in it: it embraces imperfections, personal stories and layers. Materials, colours and light, as narrative and not just functional elements, become tools for creating empathetic spaces that protect and welcome. New living habits are causing the living room to undergo continuous transformation: it is a fluid space, ready to change throughout the day. The contemporary living room features elements that dialogue between craftsmanship, materials, design and memories – a place open to change, where the design does not impose a way of life, but accompanies it.
How are these cultural changes reflected in the design of spaces and furnishings?
These cultural changes translate into a design that does not declare but creates relationships. Spaces and furnishings are designed to adapt to everyday gestures. On a spatial level, this manifests itself in less subdivided environments, where transitions are smooth and often entrusted to light elements: textiles, lighting or architectural features such as variations in height or passing walls. Design must work in layers, creating different scenarios within the same space. In furnishings, we see a growing focus on versatility and tactility, with objects that change use or are moved from room to room, sometimes reinterpreted depending on where they are placed. Objects that coexist with more iconic and authorial pieces, capable of giving character and memory to the space. The shapes become welcoming and designed for the body and for slow time. The materials reflect a search for authenticity: textured, imperfect finishes and craftsmanship reinterpreted in a contemporary key.
How has the concept of comfort evolved in recent years and what does it mean today in designing a living environment?
In recent years, the concept of comfort has expanded beyond the purely functional dimension to include emotional and perceptual aspects. Today, comfort is about how a space makes those who live in it feel: welcomed, represented, balanced, rather than simply comfortable. When designing a living space, this manifests itself in greater attention to the quality of the environment on a sensory level: think of light, materials, sounds, proportions – and the relationship with the body and time. Comfort also becomes freedom of use and awareness: imagine a space that can adapt, that does not overwhelm and that takes care of those who live in it in a quiet and lasting way.
Your research into materials and textures has always been very important: what direction is this experimental work taking today?
Our research into materials and textures today is increasingly oriented towards the sensory and emotional dimension of space. We are interested in working on surfaces that are not only visual, but capable of activating a physical and perceptive relationship with those who experience them. The tactile aspect is fundamental. We are all unconsciously inclined to touch and caress a fabric or the surface of a piece of furniture when we are evaluating it; touch is a fundamental element in our choice criteria. Experimentation is moving towards materials rich in depth, with controlled irregularities, finishes that react to light in an uneven way and textures that invite contact. We are attracted to the idea of materials that are never neutral but create atmosphere, helping to define the intimate character of a space.
How do you interpret the relationship between interior and exterior in the living space today, and what role does it play in defining the quality of living?
Today, we interpret the relationship between interior and exterior as a continuum rather than a clear threshold. It is not just a question of opening up the space to the outside, but of bringing an environmental, luminous and perceptive quality into the living space that enriches the experience of living in a profound and everyday way.
Does your design language change when you work on outdoor furniture or spaces compared to indoor ones?
Yes, our design language adapts, but without changing radically: the principles remain the same: balance, materiality, attention to the sensory experience, while priorities shift according to the context. In outdoor spaces, the emphasis is on the relationship with light, climate and the seasons: materials must interact with the environment and withstand the elements without losing their tactility or warmth. The configuration of the space becomes more open and fluid, designed to promote continuity and movement In interiors, on the other hand, we focus more on perceptual comfort: artificial light, textures, proportions and details that create intimate and welcoming atmospheres. In both cases, however, the goal remains the same: to design environments and objects that are alive, emotionally engaging and capable of accompanying those who inhabit them.
How do you address the issue of comfort outdoors, where conditions are inherently variable and less controllable?
Outdoors, comfort translates primarily into product design: shapes, proportions and angles are designed to promote natural postures and enjoyable use. Outdoor design naturally requires more technology, and our goal is to ensure that this technology remains as hidden as possible. Materials and textures also play a key role: surfaces that are pleasant to the touch but resistant to external agents, capable of creating an enveloping sensory experience. In this way, the product becomes the true mediator between the person and the environment, emphasising the characteristics of the outdoor space. Another interesting aspect is being able to work on different scales, almost always larger, and the challenge is to maintain a sense of intimacy while respecting and taking advantage of the characteristics of an open space with greenery, which we love to be wild and not too disciplined.
What role does sustainability play in outdoor design? And what about the natural environment?
In outdoor design, sustainability is often implicit in the way we choose materials and solutions: we prefer durable products that are resistant to external agents and designed to reduce maintenance and waste, so as to create objects that can last over time without losing their sensory or aesthetic qualities. In the textile field, there are some very interesting products made from recycled PET, with performance levels and comfort that were unthinkable just a few years ago. We also love using wood, paying close attention to its source, and stone, either local or Italian, instead of marble. The natural environment, on the other hand, guides choices of form, proportion and layout: the design of the products interacts with light, vegetation, views and climate, becoming an integral part of the context. In this sense, sustainability and the natural environment are not just added values, but design tools that define the comfort, sensory experience and identity of the outdoor space.
Looking ahead, what developments or challenges do you consider central to outdoor design in the coming years?
Outdoor design will increasingly have to address the ability to create comfort and identity in spaces exposed to variable conditions and in increasingly dense urban contexts. The main challenge will be to design products and furnishings that are versatile, resilient and at the same time capable of conveying warmth, tactility and a sense of welcome. Another key development concerns the relationship with the natural environment: design will need to integrate harmoniously with its surroundings, enhancing light, vegetation and landscape, and offering rich and layered experiences. In short, the future of outdoor design will be about striking a balance between functionality, emotion and constant dialogue with the environment.
