My research and creative practice explores the boundaries between architecture and objects. I am interested in challenging and reinventing the archetypes of designed objects and in expanding critical dialogs and internal questions that look at the way people interact with furniture, objects, and materials in cultural, domestic, and social settings.

I have a fundamental belief that any newly created work of design put into the world should be addressing a gap in the lineage of the history of design with a clear and original intent. A new work of design must also consider environmental, social, and economic impacts from conception through production and end of life. My goal is to produce original works of enduring value that are sustained through timeless design and emotional durability.

Through my research and creative practice, I aim to deepen my understanding of:

_Timelessness as a notion of sustainability whereby good design prolongs the life of an object.
_Form as the embodiment of narrative and design intent.
_Originality as a unique contribution to the continuing evolution and history of design.
_Sublimity as an underlying influence to elevate awareness and enhance everyday experience.
_Connectivity as it exists between objects, systems, emotions, experiences, and memory.
_Efficiency as a process of reduction for problem-solving, form-giving, prototyping, and defining meaning.      _Interdisciplinarity as an influence of one discipline upon another within a shared system of expression. 

I established Fferrone Design in 2001 after unsuccessful attempts to partner with an existing brand to produce a collection of glassware designed to revisualize and modernize the formal dining experience. My prototypes for Revolution were picked up by the international design press and the line has remained in production for 22 years. Initial research for Revolution led to the discovery that the streamlined forms could be achieved with handcrafted Borosilicate glass, which had previously been used only for commercial lighting and industrial equipment. My collaborations with manufacturers in the Czech Republic have led to 20 additional product lines. Concurrently working beyond glassware, the Fferrone brand includes furniture, lighting, and accessories—all self-initiated works designed with an intent to redefine a given typology and to elevate the everyday experiences of domestic life.

The most ambitious event of my career took place during Milan Design Week 2023, where l presented a self-initiated solo exhibition, STILL NOW. The Dinner, at the 15th century Villa Mirabello Foundation. STILL NOW served as a culmination and retrospective of my multidisciplinary research practice to date. It was held as part of Fuorisalone, the set of events distributed in different areas of Milan on the same days as the annual Salone Internazionale del Mobile (Milan Furniture Fair).

STILL NOW. The Dinner is an experiential installation featuring my designed objects and ten lines of glassware. The Dinner unfolds in a monochromatic installation where everyday objects, enveloped in an iconic ultramarine hue, are distilled down to the essence of their form and arranged to explore the idea trionfi (triumphs)—fanciful sugar sculptures made to dazzle the eyes of banquet-goers during the Renaissance. The Fferrone glassware, at once classic, contemporary, and futuristic, punctuates the volumetric blue tablescape. The supersensual mise-en-scène is an unambiguous representation of neo-grannyism, a theoretical concept that I developed to explore memory, form, and revalorization—to emphasize the ability of good design to transcend obsolescence.