Q&A: Umberto Bellardi Ricci

New York-based German-Italian architect, designer and sculptor Umberto Bellardi Ricci is drawn to disparities in form, scale and materiality, as seen in his furniture, lighting and spaces and adept use of metals, textiles and glass.

TLP Your creative output is diverse. Can you tell us about the breadth of your work and what you’re currently making?

UBR My work, while diverse in scope, is rooted in a multidisciplinary approach that draws from my background in architecture, experimentation with materials and research into how we interact with objects and spaces. Despite the variety, I perceive all my endeavours as interconnected, whether it’s designing a functional piece of furniture, creating a light sculpture or engaging with larger spatial projects. I’m fascinated by how materiality and form can bridge the gap between function and emotional expression. I usually respond to the environments I inhabit. Residing in New York has inspired me to explore a new series expanding on the architectural vocabulary of the cityscape, continuing my exploration of industrial and refined materials, such as steel, aluminium, stone and glass, while integrating elements that reflect the character of the urban environments.

TLP What do you notice in your studio at the Brooklyn Navy Yard?

UBR My studio at the Brooklyn Navy Yard is an immersive environment that feels like an extension of my process. It acts as a space that allows me to explore my curiosity of form, which translates into life-sized mock-ups and prototypes existing as portals into my process. The space is constantly in flux; it reflects the evolution of ideas and their implementation in various stages. Raw industrial elements juxtaposed with soft tactile materials encourages dialogue between the objects and their construction.

TLP Your work explores the dialogue between contrasting materials, like powder-coated steel and wood, brass and bouclé fabric and sculptural bent metal and recycled foam. Where do these dichotomies stem from?

UBR The dichotomies in my work speak to my interest in contrasts – the way opposing qualities can coexist and interact to create harmony despite dissimilarity. My background in both architecture and anthropology has deeply influenced this interest, particularly in the way materials carry cultural, functional and aesthetic significance. By juxtaposing industrial elements like steel and bronze with softer, more tactile materials like fabric or foam, I try to challenge the traditional use of these materials and invite a more nuanced dialogue between elements that form the object.

TLP Is there a medium you’re yet to explore that intrigues you?

UBR Glass is a material that intrigues me, and I’ve only begun to scratch the surface of its potential. I’ve started to experiment with it in my illuminated pieces; its transparency allows layers to seep through in the finished product, and diverse visual effects form with every new intersection. Its duality fascinates me – simultaneously fragile and strong, permanently fluid in its molecular state and refractive in its function.

TLP Richard Serra and Donald Judd are among your greatest influences. What is it about their work that resonates with you, and is there anyone else you’re deeply inspired by?

UBR Serra’s boundary-pushing work, including bending steel and his use of industrial processes like ship building, inspired my exploration of scale and material malleability. Indirectly, Judd has been an influence, mainly as he also worked with sheet metal fabricators in New York City. Carlo Scarpa has had a big impact on me. My interest in blending traditional materials with modern applications aligns with his ideas of transcending function and offering novel solutions to design problems.

TLP You were born and raised in Luxembourg, and you have lived in the UK, Mexico and the US. How have these places influenced your work? Does one stand out to you as particularly profound, or have they all served an important purpose?

UBR Each place I’ve lived has profoundly shaped my work and expanded my perspective on design. Luxembourg gave me a deep appreciation for cultural diversity and my sense of being an outsider fuelled my curiosity. London was particularly formative, where teaching at the Architectural Association and engaging with its students taught me to embrace improvisation and dynamism, partly with projects I started in Mexico City. Finally, New York – with its industrial landscape and eclectic architectural language – has influenced my use of metal and glass.

TLP Can you tell us about your interior design work and any exciting upcoming residential or retail projects?

UBR My interior design journey began this year with my studio’s first retail project: a couture showroom on the Upper East Side. It was an exciting challenge where I focused on creating a space that combined sculptural forms with a curated selection of furniture pieces. Building on this experience, I’m now working on interiors for the Embassy of Luxembourg in Washington, DC. This project offers the chance to highlight Luxembourg’s cultural narrative and bring the historic building into a contemporary, 21st-century discourse.