The Milan Design Week opened in the name of genius and human sustainability, through a path marked by the spirit of design culture, interpretation of the material and respect for nature.

A natural talent that deeply communicates through wooden surfaces. A cultural project, Natural Genius, born over a decade ago in the temple of world architecture, generously wrapped in the Guggenheim Museum’s rotunda in New York. It represents today the restless soul of a living material like wood in contemporary times.

The Anglo-Saxon term “design” has much older origins dating back to the Latin “signum” which corresponds to our “sign”, a trace that defines not only spatial boundaries.

While the verb “to design” – (according to Vilém Flusser, philosopher of design) – has a vein of wit and hides ambiguities: “to architect”, “to simulate”, “to ideate”, “to sketch”, “to organize”, “to act” strategically.

LOOP is an ingenious work of construction – an exercise for the eye that can give way to a funny deception – opens up a new interpretation of the wooden furniture surface, not geometrically oriented, rather disorienting and therefore curiously stimulating. The eye turns in search of infinity, beyond that hedge of Leopardian memory, which nature has placed as a physical boundary.

“The systems are never perfect. Even the most smooth and compact systems are crossed by a network of deep cracks caused by their internal contradictions. So it is always possible, by going through the network, to find margins where innovative events can be included.” The author, Sebastiano Canzano, quotes the architect Giancarlo de Carlo in a context where originality is now sought in hyper-decorativism or in the complex composition of known elements.

The Loop parquet project is the result of a deep reflection on the concept of limit in design products to go beyond the shape that encloses them, in order to make it lose its characteristic of staticity and insurmountability and make it more dynamic.

The challenge was to achieve a unique and seemingly random pattern, but at the same time characterized by a uniform aesthetic, through the serial repetition of a single element. The semantic choice of the word #loop, gives a feeling of multiplication of beauty for a parquet that lives both in its traditional dimension on the floor, and for its amazing ability to become vertical covering (but could even go onto the ceiling), where the generating element is unrecognizable and disappears into the general pattern.

“Starting from the assumption that without limit we would not have form and without form there would be no knowledge. The limit, then, must first of all be accepted, known and recognized”. An affectionate dialogue between the wood material and the designer, which resonates with childhood games and ancient gestures.

In design, it is fundamental to perceive the shape, the “edges” that compose an object and enclose its essence; in geometry, lines tend to be closed instinctively in simple shapes, such as squares, rectangles, triangles, circles or free shapes. Just as a wooden floor knows its limits through the perimeter lines that delimit the plank. And the plank, in the experiential memory of all of us, is by definition rectangular.

Combining the planks one to the other creates lines of demarcation, a vivid incision that can be emphasized by the colour. And it is precisely this “geometry of the limit”, which paradoxically allows it to be overcome.

With Loop the boundary, multiplying, becomes dynamic and the demarcation between known and unknown is more blurred. We enter a new apparent dimension in which experience and rationality lead us to search infinitely (in loop precisely) closures of simple forms. The surprising result is the perception of an infinite and seamless surface. Loop is not an artistic gesture, on the contrary, the result of a huge work of rationality and synthesis.

In fact, the infinite pattern is obtained through the repetition of this single element translated into a different language and positioned in the space always pointing in one direction; this intervention brings interesting advantages both from an industrial and production point of view, as well as potential layouts.

An innovative and brilliant product that gives to the "view" the role of the co-author involved in the product. That first look that, according to the discipline of the psychology of living dear to the architect, is synonymous with hospitality and identity builder from the moment of our coming into the world.