My activity as an interior designer was born of an artistic approach rather than an architectural one as far as space is concerned.
I first react to a space, as a spatial structure, in an intuitive way which influences and determines how I develop the work.
This must interrelate with the environment one wants to create, in which one needs to take into account how and what the space will be used for. Who is going to live there? What is?: the geographical and psycho-socio-cultural roots, behaviour and persuasions, manias and phobias, dreams … without forgetting the “secret gardens of his/her inner world”. In my vision, the interior designer plays a fascinating role that is both complex and delicate.
The interior designer must reconcile and unite the design culture of the space: existing or pre-existent architectural structure, considering the tradition and the “experience” of the place, the style etc., with the functional and aesthetic needs of the person(s) who will live for the first time in the same, yet transformed place.
The nature of my work is eclectic, visionary and independent free from architectural and interior designer rules. My sensitivity in relation to places and their previous lives, my aptitude and capacity in using diverse chromatic shades from pastel to intense colour, are fundamental to my work and this combination helps create a unique language and platform from which to create original interiors and objects.
My activity as an interior designer was born out of an artistic approach rather than an architectural one as far as space is concerned.
I first react to a space, as a spatial structure, in an intuitive way which influences and determines how I develop the work.
This must interrelate with the environment one wants to create, in which one needs to take into account how and what the space will be used for. Who is going to live there? What is?: the geographical and psycho-socio-cultural roots, behaviour and persuasions, manias and phobias, dreams … without forgetting the “secret gardens of his/her inner world”. In my vision, the interior designer plays a fascinating role that is both complex and delicate.
The interior designer must reconcile and unite the design culture of the space: existing or pre-existent architectural structure, considering the tradition and the “experience” of the place, the style etc., with the functional and aesthetic needs of the person(s) who will live for the first time in the same, yet transformed place.
The nature of my work is eclectic, visionary and independent free from architectural and interior designer rules. My sensitivity in relation to places and their previous lives, my aptitude and capacity in using diverse chromatic shades from pastel to intense colour, are fundamental to my work and this combination helps
The renovated loft is a former industrial complex, in Milan.
It is an open space full of signs and symbols that telling its style. A space where color predominates, which has a precise meaning:
“These colours are not random, fuchsia, blue, yellow have something to do with India: I like the Orient and my things reflect this kind of. I also love the contrast of these strong colours with the absolute white of the walls, for me it is a necessity to live in relation to colour, because I think that living is a creative fact. “
The first thing you notice when you enter the house is the kitchen with coloured glass doors, which refers to Mondrian, created by Valcucine: an open kitchen, unusually positioned in the centre of the house and the absolute protagonist of the space.
The house revolves around a central patio, inspired by the impluvium of the houses of ancient Rome: it was designed to capture all the light possible on the two floors.
A.G.Interview by A. Burigana, Italian Designers at Home book, Verbavolant Edition
WONDERFLOFT
The renovated loft is a former industrial complex, in Milan.
It is an open space full of signs and symbols that telling its style. A space where color predominates, which has a precise meaning:
“These colours are not random, fuchsia, blue, yellow have something to do with India: I like the Orient and my things reflect this kind of. I also love the contrast of these strong colours with the absolute white of the walls, for me it is a necessity to live in relation to colour, because I think that living is a creative fact.”
The first thing you notice when you enter the house is the kitchen with coloured glass doors, which refers to Mondrian, created by Valcucine: an open kitchen, unusually positioned in the centre of the house and the absolute protagonist of the space.
The house revolves around a central patio, inspired by the impluvium of the houses of ancient Rome: it was designed to capture all the light possible on the two floors.
A.G.Interview by A. Burigana, Italian Designers at Home book, Verbavolant Edition
WALLPAPER COLLECTION
This belongs to the chromatic research from Anna Gili’s Wonderloft interior project.
The wallpaper designs have been created with a sequence of geometric and rhythmic elements derived from chromatic vibrations, ranging from pastel to neutral colors in the sequence of different shades of gray, up to stronger intensities of the acid yellow tones.
ABOUT ME
"The first thing I had from Anna was one of her armchairs with a very elongated back, purchased for our Alessi Study Center in Milan in the early 1990s. That armchair seems to me to represent her way of designing well: soft but tapered, an unusual piece of design for that time, an armchair fit for a fairytale queen…""
Dr. Alberto Alessi,
President of ALESSI S.p.A.
head of Marketing Strategy, Communications, and Design Management.
"Here at the Groninger Museum we see, admire and – not the least – love to rest on Anna Gili’s wonderful “canoes” every day. They combine the best of Italian design: form and function, colour and humour."
Prof. Dr. AndreasBlühm
Algemeen Directeur
GRONINGER MUSEUM
"Anna Gili brought the colors of Umbria to Milan, the oldest colors in Italy, powerful, strong, dazzling. A quality born from an innate unconsciousness. Anna Gili is animated by a radiating vital breath and in great harmony with the kingdom of animals, often the main protagonists in the environments she creates. An etymologically fantastic world"
Jean Blanchaert
Blanchaert Art Gallery
"Anna Gili's furniture is the fairy-tale enclosure in which playful abstract forms, of artifice and nature, are gathered and freely distributed, inhabiting a dream of familiar and spontaneous joyfulness, to spread an aura of serene quiet over the course of a daily life of happy calm and playful harmony of the states of the soul. Around these clear and naive silent presences, the simple and varied chromaticism of its object space unfolds".
Prof. Arch. Riccardo Cecchini
Academy of Fine Art - Verona, Italy
“With a three-decade-long career that unfolded smack in the heart of the Milan art and design scene, Anna Gili doesn’t need to mince words...”
Wava Carpenter
Design Curator Miami Art Basel
“Patience, constancy and perseverance in working with talent, tenacity and humility so that her own intuitions and perceptions can come to light and become everyday objects with a soul... ”
François Zille
Visual antropologist
"78 objects of zoomorphic derivation in the course of a designer are such that they cannot be ascribed to chance, not even to the passion for the four-legged friends with whom they live ... Her work goes beyond the playful in favor of the symbolic, and this changes everything..."
Cristina Miglio
Architect
“The application of a careful hypothesis of classicism is a way of designing that is not main stream, but it is found in the refined white and go/d collection that Anna Gili, whose presence and demeanor are a/so beyond actual trends, has made for Post Design.”
Alessandro Mendini
Architect