Bridging Italian elegance with Scandinavian restraint, Filippo Andrighetto crafts furniture with an architectural sensibility. His work is a celebration of natural materials, slow design and the beauty of imperfection.
Filippo Andrighetto’s career began in architecture, informed by his studies in Venice and an enduring fascination with the interplay between contemporary design and historical context.
Now based in Copenhagen, Andrighetto’s practice has deepened, bringing with it a refined and honest material sensitivity. The furniture blends these influences into a style he calls ‘soft futurism’—balancing heritage and innovation, alongside raw and refined materials.
Can you share a bit about your background and how these have influenced your approach to design?
Filippo Andrighetto: I’m an architect by training and have spent most of my career working in architecture. I studied in Venice, focusing on both new and historic architecture—an experience that shaped my appreciation for heritage and the challenge of designing contemporary work that can respectfully integrate into historical contexts. Architecture has always been the foundation of my creative thinking, and I believe it’s quite evident in my design approach: my compositions are clearly influenced by architectural principles.
However, it was only after relocating to Copenhagen that I truly began dedicating myself to furniture design alongside my work as an architect. The Scandinavian design culture, its clarity and respect for materials, offered a new layer of inspiration. My work today is a blend of these two influences: Italian elegance and Scandinavian honesty, always expressed through the use of natural materials and an architectural sensibility.
The Cavalletto room divider is crafted from solid Walnut with brass pivots, one side of the linen panels are embroidered by Carla Freschi—it’s a timeless, refined and elegant piece.
You work across architecture, interiors and product—how do you work at such different scales? How do they feed and inform each other?
Filippo Andrighetto: I enjoy merging different cultures, ideas, and inspirations into my work, which naturally leads me to move fluidly between architecture, interiors, and product design. This merging of influences enables the development of a unique creative identity with a common denominator: the use of natural materials and a commitment to simplicity, both in form and in concept.
For me, architecture informs furniture design, and furniture design, in turn, sharpens my architectural thinking. Working at different scales allows me to explore how details, proportions, and materiality function, from the small and tactile to the large and spatial. Each discipline feeds into the other, creating a more holistic and coherent design language throughout all my work.
You describe (or hashtag) your work as soft futurism—what does this mean to you as a style or philosophy?
Filippo Andrighetto: At the core of my design philosophy lies the concept of soft futurism, where heritage and innovation converge in harmony. It revolves around harmonic contrasts, such as raw metals or stone and “softer” materials like stones or natural fabrics. This juxtaposition creates a dynamic interplay that celebrates both industrial materials and organic warmth.
Simple concepts and minimalistic shapes evoke a timeless elegance, while the use of natural materials entails a constant evolution over time, ensuring that they will only grow more beautiful with age.
In conclusion, it is a blend of Italian and Danish design approach, with the inevitable finest craftsmanship, attention to detail and concept of “slow design”.
How does slow design, aged materials and aesthetics play into your product pieces?
Filippo Andrighetto: To me, slow design is an intentional approach that prioritises quality over quantity and supports the work of artisans. The use of durable materials reflects a commitment to sustainability, reminiscent of a time when our grandparents valued furniture built to last.
Natural materials evolve continuously over time, growing in beauty and authenticity as they age. Embracing oxidation, scratches, and subtle colour changes as intrinsic qualities of the material allows each piece to tell its own story. This celebration of imperfection fosters a deeper connection between the user and the object, embodying a mindful appreciation for craftsmanship and honest materials.
AL chair, features a super fine aluminium profile, with angled minimalist detailing.
What do you think about Collectable design, and where do you see your work fitting into this?
Filippo Andrighetto:I believe a successful designer should be able to work across different approaches, balancing more commercial pieces with artistic or collectable ones. For me, collectable design plays a fundamental role in the creative process. It allows for deeper research, greater experimentation, and often involves a higher level of craftsmanship.
This kind of work provides the freedom to explore ideas that may not fit within the constraints of mass production, but that can later inform more commercial designs in meaningful ways. In my practice, collectable pieces become a space for pushing boundaries. At the same time, the insights and techniques developed through that process often feed back into more accessible pieces, creating a dialogue between the two worlds.
So, rather than seeing them as separate paths, I see collectable and commercial design as interconnected, each enriching the other.
You’ve studied digital architecture, what does that mean and how do you see it relating to traditional craftsmanship and handmade furniture?
Filippo Andrighetto: I studied Digital Tools for Architecture and Design at IUAV in Venice as a postgraduate Master. As the title suggests, I see the digital world as exactly that, a set of tools. I don’t consider myself someone who wants to spend all their time modelling in 3D or making renderings, as it’s not my passion. However, I believe it’s a fundamental skill that every designer must master, especially when working across different scales, from architecture to furniture.
Digital tools are incredibly useful for verifying designs in 3D before production. This not only increases efficiency but also helps avoid mistakes, saves time, and crucially, reduces waste of valuable natural resources. For me, it’s about using digital precision to support traditional craftsmanship, not to replace it, but to enhance it.
Has living in Copenhagen shifted your outlook or values in design at all?
Filippo Andrighetto: Absolutely! Living in Copenhagen truly opened my mind to furniture design, especially collectable pieces. Immersing myself in Scandinavian design culture shifted my perspective, encouraging me to explore new scales, materials, and a more honest, essential approach to form.
“Rather than seeing them as separate paths, I see collectable and commercial design as interconnected, each enriching the other.”
– Filippo Andrighetto
Introducing similar shapes and forms to the AL Chair, albeit in different materials and thicknesses—the Defender chair is bold and playful, warmed up by the introduction of solid walnut.
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