Luca DiniA hunter of inspiration and gatherer of ideas, a seeker of untrodden paths, independent to the extreme and ambitious, a virtual son of the Renaissance and a father of change – as Peter Gabriel would say, a true Watcher of the Skies: this is Luca Dini, a true Florentine through and through, rough only on the surface, yet one who doesn’t mince his words; if you step into his world, the musical score of the relationship composes a symphony that is never dull. A solitary navigator in the ocean of repetition, always in search of new influences far from the everyday, to create nautical projects – and more besides – where luxury speaks with an innovative and visionary vocabulary.
Having grown up in the cradle of the Renaissance: have you ever noticed elements of design or architecture – as we understand them today – in the works of that period, which perhaps sparked a creative spark in you? Growing up in Florence means you cannot help but be influenced by the geometry of proportions and the symmetry of details; it is a visual and cultural imprint that stays with you forever. Rather than a single design element or a specific work, what really sparked my creativity was an in-depth study of the overall harmony characteristic of the Renaissance. Observing how light falls on Brunelleschi’s façades or the precise balance of historic buildings, one realises that design and architecture – even the most modern forms – are never merely aesthetic exercises. The great lesson of the Renaissance, which I still apply today whether in the layout of a superyacht or a luxury residence, is the ability to place people at the heart of the space, designing around their needs and emotions.
That sense of wonder (is it just others’ or his own too?) always comes through in his presentations; he seems like a constantly restless hunter of serendipity: what are his sources? That sense of wonder must first and foremost be my own: if I am not the first to be moved by an idea or a drawing on the table, how can I hope to ignite that same spark in the eyes of others? Many of my colleagues see repetition as a way to make money without too much effort, often applying aesthetic conventions we’ve seen before. I, on the other hand, describe myself as a restless hunter because I consider boredom and repetition to be creativity’s worst enemies. To fuel this constant quest for serendipity, however, I never look within my own sector. My true sources spring from cross-pollination and venturing into parallel worlds: a sartorial detail in haute couture, the iridescent reflections of a new material in the automotive sector, the provocation of a work of contemporary art, or, quite simply, the geometries of nature captured from an unusual perspective.
You come across as a man who falls into the category of ‘not exactly easy to deal with’; you express complexity through simplicity, and you are tremendously dialectical. How do your clients cope with this? Do they choose to be dominated, or has anyone found the key to striking a balance? I’m happy to accept the description of being a ‘not exactly easy’ sort of man, because those seeking the easiest route – a yes-man or someone who simply carries out orders – are unlikely to come knocking on my door. When I speak of expressing complexity through simplicity, I mean that stripping things back, refining them and arriving at the purity of a complex concept requires an enormous intellectual and dialectical effort. My clients, consequently, do not choose to be dominated at all, but consciously choose to be guided. In fact, I have never once imposed ideas on a client for my own benefit. I have always sought to interpret the client’s wishes as best I can through architecture. This balance rests entirely on a solid and mutual trust. They bring their most intimate, often abstract, desires to the table, and I contribute my vision and character to translate them into a reality that surpasses even their own imagination. It is a wonderful and healthy creative tension, a continuous dialogue that enriches the final project.
A crucial step for The Longevity Suite Residences project: when you presented it to the press at Visionnaire, you brought a great deal of energy to it. What inspired you and prompted you to get on board? That presentation exuded such strong energy because the project strikes a chord that is fundamental to the future of living: the evolution of the concept of luxury, which today can no longer be separated from profound wellbeing and ‘well-living’. Coming on board and finding common ground with Visionnaire and The Longevity Suite was an almost natural process, as we share the exact same DNA: placing people at the heart of the project, an obsession with detail, fine craftsmanship and the ability to create settings that are unique in the world. What captivated me from the very first moment was the challenge of translating a scientific and philosophical concept such as ‘longevity’ into a physical, tangible space. Putting the principles of longevity into practice is not simply a matter of having a spa on a yacht or in a property; it is a way of life and, for us, a new way of designing. It means designing from the outset using this method: we start from the heart of the project rather than from the outside. We are developing this approach both in the residential sector and – very soon – in the world of yachting.
Can the yachting sector still hold any “surprising” surprises in store? What outlook do you see? The yachting sector still has a great deal to offer, and I am convinced that we are a long way from reaching the end of the road when it comes to innovation. The scenario I see on the horizon is driven by a complete redefinition of interior layouts and life on board, fuelled by the advent of new technologies and a strong focus on genuine sustainability, as well as the application of well-being concepts within the yacht. The biggest surprise, however, will not be merely technical but, above all, conceptual. The yachts of the future will increasingly become private islands – fluid, transparent structures designed to blend completely with the marine environment, offering a sense of freedom and connection with the sea unlike anything experienced before.
Are the waterfront developments visible from out at sea open to embracing projects that are, shall we say, revolutionary? Would they welcome such ideas? The world of waterfronts and coastal architecture has historically been more rigid and conservative than the yachting sector, mainly due to bureaucratic red tape and complex environmental constraints. Nevertheless, I sense a strong appetite for change on a global scale. Today, there is a new cultural maturity that makes clients and institutions far more open to embracing groundbreaking projects, provided they demonstrate a deep and integrated respect for the surrounding ecosystem. It is precisely for this reason that we were selected by the Albanian Ministry of Infrastructure and Energy to develop a national strategy for marinas, with the aim of creating a network of interconnected marinas that collaborate rather than compete, sharing resources and infrastructure to increase logistical efficiency, support regional economic growth and reduce environmental impact. Our firm has also been selected to oversee the redevelopment of a marina in Dubai’s Peninsula Dubai area, where the project’s core concept centres on a dynamic, all-encompassing connection between the surrounding urban environment and the water, achieved through a flexible, two-level system. Bringing the dynamism, flexibility and attention to detail typical of yacht design to the mainland – right on that fine line where architecture meets the water – is one of the most fascinating and stimulating challenges for my practice. This is one of the reasons why our practice’s motto is ‘from sea to land, and back again’.
Do you have a dream tucked away somewhere? Or perhaps many dreams, of course. I have plenty of dreams tucked away, and it would be a disaster if I didn’t, because that would mean I’d silenced my creative restlessness. My main dream, however, isn’t to be remembered for the buildings we’ve designed, but for having made our clients’ dreams possible and tangible. And I believe this is also what sets me apart from a design world that is very self-referential and far removed from the clients’ wishes.
