Functionality, aesthetics and innovation. These are the three items that inspired her projects. «The very essence of living
is connected to space and volume. From the Colosseo to Giò Ponti’s Pirellone, architecture generates icons. Design is a challenge tied to a specific period or an idea: it rapidly becomes old», says the Italian architect
Distinguished architect and renowned naval interior designer with a passion for blending functionality, aesthetics, and innovation, Misa Poggi has carved a niche in the industry, shaping spaces that transcend mere design to become immersive experiences. We encountered her to delve into her polyhedric practice, which ranges from architecture to design, and to explore her collaborations with industry leaders such as Loro Piana and Nautor Swan.
Could you share with us where you started from and how would you describe architecture?
Architecture is much more than just designing buildings or structures. Under the guidance of renowned architect Innocenti from Genoa, I spent eight years learning classical architecture, including designing social housing, cemeteries, schools, and urban plans. Initially, I extensively
used Olivetti’s drafting machine and calculator for meticulous drawings with centimeter preci sion, especially in social housing projects and it is this traditional education that instilled in me the professional confidence to handle diverse projects, from large buildings to simple furniture designs. Architecture requires a deep understanding of geometry, functionality, physics, drawing, and environment, and it demands a rigorous approach because every architectural project carries great responsibility. In my life, architecture is a passion which allows me to observe the world with a unique perspective, to see volumes and shapes from above, and to synthesize these elements into a complete project. The very essence of living is connected to space and volume. In Israel, I once entered a house where everything was disproportionately large, including the doors, which made me feel disoriented and somewhat seasick.
For your way of thinking, what is the basic difference between architecture and design?
Design presents an intrinsic challenge: it is closely tied to a specific era, group, or idea. It is not eternal and it rapidly becomes old. I am fascinated by works that have a life of their own, like Giò Ponti’s Pirellone, which represents an architectural icon akin to the Colosseo, while design often has a limited lifespan, although sometimes it may resurge. Coming from a construction background, I transitioned into interior design inspired by masters like the British David Hicks and the Arts & Crafts movement. I learned from a variety of artists and artisans. Having an holistic approach has been invaluable to me, as I firmly believe that everything is interconnected. My goal has always been to design, together with the clients, also the life that takes place within the house, a principle that I have also applied in Nautor Swan yachts interiors.
How did your collaboration with Nautor Swan come about, and what is the spirit that characterizes the shipyard from your point of view?
I live in Genoa, close to the sea, I am passionate about sailing and I approach boat and house design in the same way. When I started collaborating with Nautor Swan, we adopted an approach based on the onboard lifestyle and how people live the sea. Joining the project for a 100-foot yacht by Juan K. for Club Swan allowed me to explore new horizons. In my work, I must consider many factors: the type of boat, the context, the history, the client’s preferences and more. It is essential to immerse myself deeply in each project, interpreting the owner’s needs without compromising Nautor Swan’s identity; quality and experience are always of paramount importance. In the Finnish shipyards, I have appreciated the high standard of craftsmanship and attention to detail which contribute to creating special boats, the Swan icon. Leonardo’s passion, authentic and deep, helps preserve and continue the beautiful history of Nautor Swan.
During your years with Nautor Swan you had the chance to work side by side with Germán Frers, a great yacht designer of our time.
The one with Germán has been a revealing encounter. In Nautor Swan the hull is the key
also when it comes to developing the interiors, you need to always think about it and respect that shape. Germán is capable of a very specific kind of creativity, he draws lines with a confidence stemming from an intrinsic understanding of what he is doing. While sketching, he follows instinct with a spontaneous approach evident in his style, without being conditioned. Intuition and passion are the foundation of creating authentic works as much as a desire for success that focuses solely on imitation and selling at all costs leads to opposite results.
You have always mentioned Sergio Loro Piana as a key figure in your career. Can you tell us more about this collaboration?
Working with Sergio Loro Piana was a formidable experience. I had the privilege to collaborate with him for many years, during which we literally invented the concept of Loro Piana stores! We opened stores worldwide, perhaps more than 500, and I must say it was an incredibly fun adventure. It was a time when everything seemed possible and looking back I can say I lived in a golden age. Sergio was a visionary and we worked together in perfect harmony, experimenting on a wide range of projects, from stores to houses, from baby cribs to boats. He was a complete man, endowed with sensitivity and a unique vision. With Sergio I learned that there are no limits, every challenge is possible. At the same time, Pigi Loro Piana was the master of the product, he was always looking for the best yarns maintaining a tradition of four generations of weavers. Loro Piana has a long history of producing fabrics for the clergy, specializing in thin and lightweight wools, but Pigi and Sergio together brought innovation with special products
making even the finest fibers water repellent. I remember when during the opening of the first store in New York, the resistance of Loro Piana Storm System was demonstrated by pouring water directly on the customer’s counter! This cutting-edge approach was also reflected in the architectural details of the NYC store, such as the fountains for tests. Every project has its codes and languages customized for each client, making each experience a unique adventure, and the one with Loro Piana certainly has a special place for me.
Are there some projects that have been particularly stimulating and rewarding for you in the field of architecture?
The Beach House in New Zealand was truly a magical project. Built with natural materials, so much so that the concrete was made with sand from the nearby beach, it blends seamlessly into the surrounding landscape. It is a true refuge and represents the archetype of the hut. Furthermore, it is one of those rare cases where the project remained faithful in every detail to the first sketch, from start to finish. Working in New Zealand was an extraordinary experience overall. The energetic young carpenters I collaborated with skillfully worked from dawn till dusk, impressively handling high-quality trees treating them with seawater to remove tannins. The Alloy shipyard, where I had the opportunity to work on a beautiful boat, was an extraordinary place, a real wooden amphitheater where all the craftsmen found their place. The project The Boat on the Grass in Portofino is instead a perfect example of how everything is connected in my profession. Transporting the world of boating into a terrestrial context creating a sort of giant lounge, was an extremely stimulating creative process which brought the customers’ habits back from their boat to their lawn. Lastly, the house in St. Moritz was a unique opportunity to explore elegance and mountain luxury. Designed inside a former hotel using natural materials like solid cooked oak and coloured marble, it combines sophistication and functionality. We had fun with special gadgets such as a SPA tub in the turret equipped with dedicated refrigerators and a mini-Gym created in an inter-storey and many more.
The approach to the project, in your opinion, is practically the same from a design perspective: whether it’s a boat, a house, or a hotel?
Essentially, yes. The world of the hotel industry is particularly complex and you cannot truly understand it unless you immerse yourself in it, supported by those who experience it first-hand. I like to use the example of the Harry’s Bar in Venice with its reduced dimensions. Here, every element is designed to create an intimate and welcoming atmosphere: from smaller chairs, closer tables, cutlery of reduced size, to lights placed at a height of 140 cm. It is a combination of details that contribute to creating a unique experience, exactly like when designing a boat. I think it’s a real stroke of luck to have the opportunity to collaborate directly with clients during the design process because you learn a lot from them. An example has been my work with Arrigo and Giuseppe Cipriani in Beverly Hills. With their imagination and joy of living, we created a very special atmosphere, designing a swimming pool with integrated tables for dining with your feet in the water and a bar counter with comfortable armchairs instead of traditional stools. The hotel has become a true reflection of the playful spirit of the customers. When working on a project, the main goal is always to produce an environment that is functional, aesthetically pleasing and respects the budget, but above all one that mirrors the personality of the client. It is like translating their desire, often not clearly expressed, into a tangible work that fully reflects their identity.
