Hannes Peer, originating from South Tyrol, artfully integrates architectural prowess with an abiding passion for craftsmanship. His educational journey through the Politecnico di Milano and the Technical University in Berlin was marked by formative stints with influential studios, including OMA in Rotterdam and Zvi Hecker in Berlin. This diverse trajectory led to the foundation of *Hannes Peer Architecture* in Milan in 2009, a dynamic studio that has grown into a collective of up to 10 freelance architects and designers.

Eclecticism, a core tenet of Peer’s work, is more than a stylistic choice—it embodies a holistic engagement with historical context, cultural narratives, and contemporary technologies. This guiding philosophy permeates the studio’s portfolio, which spans large-scale hospitality projects, nuanced residential design, and international brand collaborations. Notably, his recent masterplan for the Baths of Caracalla in Rome includes a contemporary water mirror installation, a project that embodies his vision for blending historic reverence with modern innovation. At the essence of Peer’s creative expression lies a design language infused with layers of meaning, merging poetic vision with rigorous architectural principles. His studio’s work reflects an unwavering commitment to craftsmanship, creating spaces that evoke depth and timeless appeal. A continuous exploration of materials—be it wood, marble, ceramics, or textured metals—defines the distinctive identity of each project. This rich palette of elements and surfaces, characterized by varying transparencies and structured textures, orchestrates a sensory experience heightened by the interplay of natural light, imparting a unique architectural character. 

Peer’s seamless integration of architecture, interior design, and product design propels his projects beyond conventional boundaries, balancing practical functionality with a sensory and user-centered approach. The use of tactile materials underscores his commitment to clean, timeless design. His background as a trained carpenter adds a personal touch to his practice, bringing a hands-on approach to prototyping and material exploration. In essence, Hannes Peer’s journey is a testament to the transformative power of eclecticism—a philosophy that elevates each project into a harmonious symphony of design, seamlessly weaving together the past, present, and future. Through his deeply personal and nuanced approach, he continues to shape spaces that transcend conventional boundaries, leaving an indelible imprint on the architectural and design realms.

1. Where were you born and where are you from ?

I was born in South Tyrol, and I am based in Milan. My roots in South Tyrol and my connection to the Alpine landscape have deeply influenced my approach to architecture and design.

2. What is your first memory connected to the art world ?

One of my earliest memories connected to the art world is experiencing the tactility of materials—wood, stone, and ceramics. My fascination with materials began early, and I was always drawn to how they could be shaped, transformed, and juxtaposed. One of my earliest memories connected to the art world is visiting Murano with my mother. She had a deep appreciation for art and craftsmanship, and those trips introduced me to the beauty of glassmaking—the colors, the textures, and the incredible skill of the artisans. At the same time, I was always drawn to the tactility of materials—wood, stone, and ceramics. I remember being fascinated by how these materials could be shaped, transformed, and juxtaposed, which became a foundation for my own approach to design.

3. Have you always worked in the art/design field, and what led you to the design creation ?

Yes, my career has always been deeply rooted in architecture and design. I studied architecture at the Politecnico in Milan and the Technical University in Berlin, and I had the opportunity to work for Rem Koolhaas and Zvi Hecker, which shaped my critical thinking. Over time, my practice has evolved to encompass not only architecture but also furniture and product design.

4. What led you to the design creation ?

My journey into design was a natural evolution from architecture. I see design as an extension of space, shaping not only the environment but also the objects within it. My love for craftsmanship and material experimentation led me to furniture and product design, where I could explore these ideas at a more intimate scale. Everything is architecture to me, no matter the scale.

5. How would you describe your creative process and it influences ?

My creative process is deeply research-driven, shaped by historical, social, and cultural contexts. I often work through juxtapositions—bringing together elements that may be geographically or temporally distant to create something unexpected yet meaningful. My process is also highly tactile; I love working with materials hands-on, understanding their potential, and pushing their boundaries.

6. Could you describe a typical day of your work ?

No two days are the same. My work oscillates between designing, overseeing projects, collaborating with artisans, and traveling for research. Some days are spent sketching, refining details, or exploring material innovations, while others involve site visits, discussions with craftsmen, or curating artworks for a project.

7. Why did you choose the specific materials you work with ?

Material selection is both an emotional and contextual decision for me. I love working with wood and ceramics because they demand respect and patience, each with its own unique response to craftsmanship. I am also fascinated by glazing techniques, oxidized metals, and textured finishes that create depth and unpredictability. My approach to materials is about contrast and layering, creating compositions that evoke a sense of history and narrative.

8. What are the technical particularities of your creations ?

Technically, my designs often explore the interplay of material tension and contrast—how textures, finishes, and juxtapositions can shape perception. I focus on the dialogue between craftsmanship and conceptual rigor, ensuring that every material expresses its full potential. The precision of detailing, the treatment of surfaces, and the balance between structure and softness all play a crucial role in shaping the final piece. My work embraces both tradition and experimentation, pushing materials to reveal unexpected qualities while maintaining a strong architectural foundation.

9. What advices could you give to beginning artists who would like to create sculptural design works ?

Learn at least one craft deeply. Understanding materials hands-on gives you an intuitive sense of what is possible, far beyond digital visualization. Also, embrace complexity—allow yourself to explore layers of meaning and historical references in your work rather than seeking instant simplicity, or even worse ‘likability’.

10. If your works had to belong to a design movement, in which one would you define it ?

I would place my work within an eclectic and conceptual framework—perhaps a contemporary evolution of postmodern eclecticism, but with a deep respect for historical continuity and craftsmanship. I also resonate with the idea of ‘nostalgic utopia,’ where architecture and design are informed by a sense of memory and cultural layering.

11. What designers and artists have influenced you ?

I have always been drawn to the architectural and material sensitivity of Carlo Scarpa, the theoretical depth of Aldo Rossi, and the conceptual rigor of Rem Koolhaas. Their approaches to space, materiality, and memory have significantly shaped my own practice.

12. What contemporary designers do you appreciate ?

I appreciate designers who go beyond the surface, those who are truly invested in deep research rather than just storytelling or market-driven trends. Very few actually engage in profound exploration—many focus on instant visibility and quick success rather than developing a strong foundation over time. Designers like Héctor Esrawe, Roberto Sironi and of course Vincenzo De Cotiis stand out for their commitment to material research and cultural narratives, bringing depth and substance to their work. In today’s landscape, there’s often an emphasis on what generates immediate recognition rather than a slow, steady evolution of ideas, but I believe the most meaningful work comes from patience, curiosity, and constant refinement.

13. What contemporary artists (in any kind of art) have you been inspired by ?

Mark Rothko’s mastery of color has profoundly influenced me—his ability to create spatial and emotional depth through color alone is something I continually reflect on. Chillida, Noguchi, and Twombly have also shaped my approach to form, materiality, and gesture, while Arte Povera resonates with me for its raw, elemental nature. Gerhard Richter’s sheer talent and versatility are unmatched. And of course, my mother Ursula Huber—she has been part of my creative journey from the very beginning. I am also drawn to the modernist and figurative works of younger artists like Elvira Solana, whose large-scale mural at The Otter in The Manner hotel in New York embodies the intersection of art and architecture that I find so compelling, or the sculptural works of Giovanni de Francesco and Florian Baudrexel.

14. If you had to summarize your creations in one word or sentence, what would it be ?

A layered dialogue between architecture, memory, and material experimentation.

15. Is there anything you would like to add? 

Design, for me, is always an act of storytelling. Whether through furniture, interiors, or architecture, I aim to create spaces and objects that evoke emotions, invite exploration, and connect people to something beyond the immediate—a sense of place, history, and materiality.

PROUST QUESTIONNAIRE
(The Proust Questionnaire is a set of questions answered by the French writer Marcel Proust.
Other historical figures who have answered confession albums are Oscar Wilde,
Karl Marx, Arthur Conan Doyle, Stéphane Mallarmé, Paul Cézanne…)

11. Which words or phrases do you most overuse?

Layering.

12. Which talent would you most like to have?

Playing an instrument well.

13. If you could change one thing about yourself, what would it be?

To be more patient with the process.

14. What do you consider your greatest achievement?

Creating a body of work that is both conceptual and tangible.

15. If you were to die and come back as a person or a thing, what would it be?

Isamu Noguchi.

16. Where would you most like to live?

Probably New York.

17. What is your most treasured possession?

The two glass sculptures ‘Ego’ made by my mother and in my presence over thirty years ago in Murano.

18. What do you regard as the lowest depth of misery?

A world without love.

19. What is your favorite occupation?

Architectural designer—because it’s never just one thing.

20. What is your most marked characteristic?

Eclecticism with precision.

21. What do you most value in your friends?

Loyalty and an independent mind.

22. Who are your favorite writers?

Kerouac.

23. Who is your hero of fiction?

Perhaps the young Holden—restless, observant, navigating the world with sharpness and vulnerability. Or Corto Maltese—for the wandering spirit and quiet defiance.

24. Which historical figure do you most identify with?

Identify is a big word, but I definitely relate to Carlo Scarpa—his meticulousness, sensitivity to materials, and the way he orchestrated light and detail with absolute precision.

25. Who are your heroes in real life?

Those who shape culture with integrity.

26. What are your favorite names?

Names that carry history and depth. 

27. What is it that you most dislike?

Intellectual laziness.

28. What is your greatest regret?

That time is always too short.

29. How would you like to die?

Peacefully and without realizing it—having witnessed my grandmother slowly regress due to Alzheimer’s, an experience that shook me to the bone and was utterly heartbreaking—I know that is not how I want to go.

30. What is your motto?

Embrace complexity, refine endlessly.