The forthcoming installment of Future Talks by RTF presents an enriching dialogue with Giuseppe Gallo, a luminary whose multidisciplinary expertise traverses architecture, design, and social innovation. With a PhD in Architecture from the University of Palermo and a tenure as a Visiting Academic at the University of East London, Gallo’s journey is marked by visionary contributions and groundbreaking endeavors.
As the visionary Founder of Mirabilia, an avant-garde Communication Agency, Gallo’s creative leadership spanned 15 impactful years, garnering global recognition through esteemed accolades like the Mozilla Firefox Flicks and the IDA International Design Award. Beyond accolades, his commitment to fostering social change materialized through the presidency of Next, a trailblazing association championing initiatives in social innovation, particularly in the challenging context of Sicily.
Gallo’s narrative extends further into the digital realm with Archinerds, a pioneering social media platform exploring the nexus of architectural imagery and digital communication. In his current role as editor, Gallo curates a space that resonates within the dynamic confluence of architecture and digital expression, amplifying dialogue across prestigious publishers like Taschen, De Agostini, and leading online platforms in architecture and design such as Designboom and Archdaily.
Join Future Talks as we delve into Giuseppe Gallo’s expansive repertoire, exploring his visionary insights and groundbreaking initiatives at the intersection of design, social innovation, and digital landscapes.
Giuseppe Gallo (Link:https://www.giuseppegallo.design/),
RTF: Hi Giuseppe, We are glad to have you as a guest on Future Talks by RTF. Thanks for joining us. What has been your approach towards design? From founding Mirabilia to Archinerds, how has it changed?
Giuseppe Gallo: Thank you for your invitation; I am delighted to be a guest on RTF, an editorial project I have been following with interest for some time. When I started my journey with Mirabilia in 2007, I was still attending university, driven by the desire to put my passion for design and communication into practice. The communication landscape was vastly different; social media had not yet reached the widespread use they have today, and digital modeling tools lacked the predictive capabilities they possess now. For instance, Facebook was founded in 2004, 2007 marked the release of Grasshopper 3D, a software that revolutionized digital design. There was great enthusiasm, a willingness to explore, and confidence in the possibilities offered by technology. By 2015, when I co-founded Archinerds with Eliano Felicio, the negative influences of social media on users and communication were already evident. We felt the need to create a space where we could give a new voice to projects that have shaped the history of architecture, far from the exaggeration of sensation-based communication. Over time, with the evolution of algorithms governing social media and major web platforms, the project transformed into an exploration of the relationship between architectural imagery and digital communication.
The difference between the two approaches is undoubtedly marked by maturity, numerous errors and experiences, study, and the awareness that change is the only constant. A project, technology, or initiative that works perfectly today may lose its relevance within months. It is our responsibility, as designers, to view change with a critical and constructive eye.
RTF: You mentioned algorithms, increasingly prevalent in the world of design, a term that leads us to artificial intelligence, a subject you have delved into as a researcher. What is your perspective on this matter?
Giuseppe Gallo: I started studying the applications of artificial intelligence in architectural design in 2017 when the topic was, at least in architecture, still in a pioneering state. Today, Machine Learning, or in its more commercialized name, Artificial Intelligence, is on everyone’s lips; nearly every company claims to use it or to have developed tools based on artificial intelligence. In reality, the AI world is vast and stratified; there are dozens of different method families, many of which have proven useful in the design realm, from panelization to energy optimization, from environmental forecasting to concept realization. As evident, artificial intelligence is gradually eroding aspects of design activities; it is a technical phenomenon, and technique always eats itself. So, while creating a graphic project once required printing skills that graphic designers of my generation never had, in recent decades, you had to learn to use graphic design software. Tomorrow, the level of skills required will be even lower. This is simultaneously a blessing and a curse because, while it will be easier for users to obtain personalized objects and spaces, the average user will never have the awareness of an experienced designer. What is lacking and will become increasingly necessary is a cultural shift that disseminates design culture even to those who have remained outside it.
Another theme, undoubtedly crucial to the future of the relationship between AI and architectural design, and that of data. AI models are born from the data on which they are trained, data collected by various entities according to different criteria. There is still no collective initiative, at least in the world of architecture, that regulates and validates data, formats, and the ways in which they are collected. This is a problem that certainly limits the sustainable development of these technologies. I think, for example, of the project for the Quayside neighborhood in Toronto, presented by Sidewalk Labs, a Google’s urban design lab. The project worth 900 million dollars, officially canceled due to economic uncertainties caused by the pandemic, was based on massive and continuous data collection, a condition harshly criticized by citizens and public opinion.
RTF: Recently, you authored a research paper discussing the connection between design and open-source software, a topic that is still somewhat overlooked in the field of architecture. Could you provide further insights on this?
Giuseppe Gallo: The contribution titled “Open-Source for a Sustainable Development of Architectural Design in the Fourth Industrial Revolution” (link: https://www.giuseppegallo.design/publications-talks/open-source-in-architectural-design-industry-4-0/ ), co-authored with Gianfranco Tuzzolino, is part of the book “Architecture and Design for Industry 4.0,” published by Springer and edited by Maurizio Barberio, Micaela Colella, Angelo Figliola, and Alessandra Battisti, whom I thank for their invaluable work. The book compiles a series of chapters aimed at understanding a crucial theme for the future of architecture: the relationship between technology and sustainability.
In this context, open-source becomes a necessary choice to maintain design as a research activity free from constraints and the mere application of methods, open and socially sustainable. Within the article, we trace the numerous contributions that open-source has provided to design over the past decades. Without open-source, architects would not be able to conduct environmental analyses as they do today; we would lack the predictive and energy optimization capabilities that we have achieved.
Despite this, and despite the push toward open-source by many technology giants, the architectural world tends to prefer proprietary software, sometimes erroneously considered better and more reliable in terms of support. This is a detriment because it turns designers and architects into mere consumers of software, placing them in a subordinate position. As explained in the article, this approach causes several issues within professional studios.
For open-source to proliferate in our field, there needs to be a different awareness among designers and architects, a cultural shift that has already begun, but most importantly, we need the courage to develop new business models involving designers and software developers, making open-source a sustainable choice in our field as well.
RTF: What is your opinion on trends in design? Do designers shape trends or do the trends shape the approach of designers?
Giuseppe Gallo: Despite the proclamations and communicative emphasis accompanying the announcement of new projects and initiatives, architecture and design find themselves in a position of subordination compared to other disciplines. This is especially true for architecture, which, in a world where atoms transformed into bits, remains, by definition, the discipline of building space and materiality. Trends carry a huge weight in our fields, which is a two-sided coin. It’s positive because architecture and design need stimuli to respond to the evolution of human needs; negative because some of these trends might be mere distractions, leading us down blind alleys.
Consider, for example, the metaverse, a trend that began when one of the world’s largest ITC groups changed its name to Meta, launching a global initiative that many architects and designers immediately embraced. Several universities now offer courses in metaverse architecture. Similarly, architecture has responded to our fears related to global heating, slowly shifting our focus towards energy and environmental sustainability. However, it has simultaneously led to the proliferation of architectures that, behind green facades and the extensive use of vegetation, conceal a lack of in-depth exploration of energy-related themes. The danger in this regard is that the trend remains, in architecture and design, a purely communicative phenomenon, devoid of substance: a distraction.
RTF: How would you highlight the importance of constantly evolving in design? How do you look at it in your work since you began?
Giuseppe Gallo: I believe that as designers, each of us looks at our past works with a touch of embarrassment. Despite the commitment and dedication with which we designed them, it’s normal to feel this way, and it’s a sign of a journey, improvement, and a greater ability to tackle design challenges. Even if sometimes we are not aware of it, there is a constant evolution, and, for me, there are three main factors that determine it.
The first is commitment: the dedication with which we design, accumulating experience, facing the difficulties, and the frustration of the project. The second is our ability to broaden our perspective, our desire to learn: any type of project is an attempt to solve a problem, and the greater our knowledge, the greater our ability to design effective solutions. The third, perhaps the most crucial in the evolution of design, is courage. A characteristic I have had the opportunity to observe in one of my mentors, Fulvio Wirz, who was for many years an associate at Zaha Hadid Architects. Besides contributing to the design of some of the most interesting projects in the studio’s and being one of the world’s leading experts in the use of Maya for architectural design, what I appreciated in him is the inclination to explore new path: it is something you can learn and a crucial trait in the evolution of any designer.
RTF: What is your idea of finding one’s own design voice in a world full of ideas?
Giuseppe Gallo: It is not possible to separate who we are from how we design. Our cultural background, education, daily experiences, the communication we are exposed to, and the ideas that reach us, all these factors influence our worldview and, consequently, our projects. My approach to architecture is influenced by having worked in the field of communication for many years, while others have had different experiences and can see things that I might not see.
Moreover, today, given the level of specialization achieved in every discipline and the increasing complexity of design, it is no longer possible to envision a designer who can independently manage all aspects of a project. That’s why today, and increasingly in the future, architecture is destined to be a collaborative activity.
From this perspective, I see two possible paths. The first is that of the generalist, a project manager who knows a little about everything, capable of orchestrating the project and relying on others who contribute to specific aspects of the project. The second path is that of the specialist: a more focused approach, perfect for those with a great passion for a specific theme and who want to develop their career as an expert or consultant.
RTF: How do you look at the work beyond designing for young architects and designers, such as the likes of involvement in communicating, handling media and building an online presence?
Giuseppe Gallo: Digital communication has become a necessity, we all have some kind of online presence. However, communication is a delicate matter that requires careful handling. Many times, I’ve encountered clients who are designers and architects, convinced that they are communication strategists. In 90% of cases, that’s not true. Regardless of the medium, communication is a complex activity that requires specialized skills. If done incorrectly, you won’t get results, or worse, you may get negative results.
One of the most common mistakes I see is the lack of setting objectives. Simply put, why are you communicating? Do you want to find new clients? Do you want to be recognized as an expert by your peers? Do you want to sell a product? Each of these goals requires different paths, tools, and skills, as well as different modes of communication. If you are clear about your objective, you have a clear idea of your target audience, the tone of voice to use, etc.
Another thing I often see in communication, especially from young designers and architects, is the attempt to imitate large studios or even big commercial brands. This is a strategy destined to fail and will lead to no results except a waste of time and budget. On the contrary, what works and is increasingly part of the role of a designer and architect is translating the complexity of the design: a complexity that those without our skills cannot understand. Communication is an attempt to establish a relationship, build trust, which is why it is necessary to first put ourselves in the shoes of our audience and avoid self-reference.
RTF: How do you approach getting your projects featured in publications? Do you manage the communications and PR in-house or have this outsourced to a PR and communications agency? Which approach do you think is better and why?
Giuseppe Gallo: I would say that there is no rule. In some cases, especially for larger studios, it is more convenient to have internal specialists handling communication, conveying the studio’s vision consistently across different channels and developing direct relationships with the media. Of course, it’s not always possible, especially for young designers. In such cases, the advice is to find a reliable partner to support communication activities.
In my case, my main partners are my former colleagues of Mirabilia, a firm I have separated from but with whom I maintain a strong friendship and collaboration.
RTF: What key aspects should a young designer or architect be aware of when engaging in social media communication?
Giuseppe Gallo: Social media are a very useful tool for promoting designers and architects. These platforms have a significant influence on the global discourse of architecture and design. To prove this, one only needs to look at the resurgence of Brutalism, a movement born almost 70 years ago that has been experiencing a revival in recent years thanks to the passionate communities formed on these platforms.
However, when talking about social media, some things should never be forgotten. Despite the control and management we have over our social media profiles, we are always guests, operating on platforms owned by companies that profit from our interactions. Over the years, Facebook is almost 20 years old, these companies have developed methods and rules with the sole objective of keeping us online as much as possible. Automated algorithms reward the virality of content, the consistency with which we post on our accounts, the number of interactions that posts can generate in the first few minutes of publication, and many other factors that we are not aware of. Therefore, managing social media accounts today means publishing for both humans and machines: digital guardians that oversee these spaces and evolve through result optimization processes. The effects that these platforms can have on our psyche are potentially devastating because we are naturally inclined to think that the number of people following us is a social proof of our worth. We may believe that the number of likes received for a post is an indicator of quality, yet it is not quite so; it is something closer to an equation than that.
RTF: What approach would you advise young design professionals to have in order to excel in the field? And what are some things to be wary of?
Giuseppe Gallo: If I look at the biographies of the great architects and designers of the past, those who have left a mark in history, I see some common characteristics that define their approach to both design and life. The first is the ability to not give up in the face of difficulties and failures, to learn from mistakes, and to find the strength to move forward even in the darkest moments. The second is the desire to surpass the status quo, to look beyond the discipline to add value to the project. Just as it was for Buckminster Fuller, who, before many other architects and designers, spoke of the project as a system of energy and the world as our only home. Or for Luigi Moretti, who conceived his parametric architecture in the mid-20th century, before the advent of computers, finding in mathematics and operations research a model to apply in architecture. A third characteristic, perhaps the most important, for architects and designers of the next generarion is humility, a quality that arises from the awareness that there is no person capable of fully understanding every design problem, and that any project is always, in some way, a failure.
RTF: Where does one find you when you’re not working?
Giuseppe Gallo: When I’m not working, I try to spend as much of my free time outdoors. I love the sea because it helps me slow down; nothing empties the mind of heavy thoughts and unnecessary anxieties like the horizon of the sea. Similarly, especially since the end of the pandemic, I have started walking in the countryside. The contact with nature helps me maintain balance and responds to a desire for exploration that is part of our human nature.
RTF: Which project of yours has been the most rewarding for you in terms of learning? Which is your favourite project and why?
Giuseppe Gallo: Among the projects developed in recent years, two come to mind, two satisfying experiences especially in terms of the journey and participation. The first is a corporate image project, the latest one I followed with the Mirabilia studio: the rebranding of Solgeo (Link:https://www.giuseppegallo.design/works/selected-brand-design/ ) , an international company that produces devices and software for the geophysical and structural monitoring of large infrastructures. I mention it because Brand design is sometimes thought of exclusively as a visual project. On the contrary, in this case, and generally for larger organizations, the project followed a much broader and pragmatic path, with significant participation and collaboration from clients and their company departments. Together with them, we designed communication rules, processes, formats, and an internal responsibility system, aimed at ensuring both coherence and ease in corporate communication.
The second is an architectural project I called Mediterranean Transaction (link:https://www.giuseppegallo.design/works/mediterranean-transaction/ ). It involves the design of a garden for Motta d’Affermo, a medieval village in northern Sicily, where just over 100 people live. In this case too, the most satisfying part of the project was the paricipation of the citizens, interviewed and met on several occasions. This allowed the project not only to solve real problems for the inhabitants but also to develop choices together regarding construction processes, social sustainability, and future maintenance of the work. Another fundamental aspect for the garden project was the consultancy provided by environmental experts. This allowed us not only to choose the most suitable species for the natural and cultural context but also to develop welcoming outdoor spaces in different seasons and mitigate the negative effects of the wind in the colder seasons.
