Francesco Giampetruzzi was born in Bari in 1976, where he currently lives and works.
He graduated from the University of Wales with a Master of Art in Interior and Living Design (2007) and from the ‘Domus Academy’ of Milan with a Master in Interior and Living Design (2005-2006).
From 2005 to 2013 he has been member of the “Consiglio dell’Ordine degli Architetti, Pianificatori, Paesaggisti e Conservatori della Provincia di Bari”, the council of the architects of Bari.
He graduated from the Facoltà di Architettura “Ludovico Quaroni” of Rome (2004), the same year he became an associate of the Studio52 in the role of designer of the interior works and décor with Marino Giampetruzzi.
Every object/project in its disposition and in its presentation tells a story of refined industriousness and the pursuit of sophisticated compositions. Every creation encompasses a net of references(from industrial archaeology to mechanical engineering)where every piece, while still preserving its own distinctiveness, relates to every other piece in the collection.
These design objects are “exercise in style”, where every found and re-found part coincides with real/its own dual souls; in facts their willing to be functional and dynamic strings along with their inventive effort and their ‘one-off’ aura. Every piece is unique as none of the other objects/projects will ever be perfectly identical to it. This uniqueness gives the objects an interpretation that is probably retrieved by the memories and the stories of each single part.
The subtle power of the reflections combined with the sophisticated enchantment of the oxidation boosts the expressive potential of forged metals, from the opaque iron and aluminium to the polished brass, copper and steel.
The intersections create volumes overturning the inside of every object, the metal matter is allotted and framed in structures and totemic objects where clean cuts and the sinuous corners of the metals prevail.
Shadows and spatiality created by lights portray structures originating in imperfect geometric matrix, managing to enhance them even more.
These are the thesis of an “ars combinatoria” that considers minimum differences and allows to mark the impalpable movement of what has already been said, seen and done, and that lends an extraordinary dignity to every single object/project.