July 23, 2025 | DESIGN & INTERIORS
PALOMBA SERAFINI
words Onur Basturk
photos Courtesy of ps+a
Get ready to discover the story of a remarkable partnership, shaped by design! Ludovica Serafini and Roberto Palomba, the visionary creators of the Palomba Serafini brand founded in 1994, share their journey of determination, hard work, and inspiring experiences.
PERHAPS THE MOST SIGNIFICANT MOMENT IS REALIZING THAT YOU ARE A MATURE PROFESSIONAL WHO IS VALUABLE TO THE INDUSTRY.
Last year, you celebrated your 30th anniversary. Looking back at your 30-year design journey, can you share the most memorable and standout moments for you?
R: It has been a long journey without ever stopping—everything has been unforgettable. It has been so wonderful (and still is) that I find it difficult to define one moment as better than another. However, perhaps the most memorable part wasn’t a single event but rather the awareness of having achieved success.
When you realize that what you do is appreciated, that your ideas are valued, that people buy your projects, and that you’ve reached a level of design maturity that can be sustained, you understand the value of your journey. The truly memorable part consists of many small fragments that, when put together, create a sense of awareness.
Perhaps the most significant moment is realizing that you are a mature professional who is valuable to the industry. The most meaningful moments are those of awareness—they give you the drive to do even more.
L: A few years ago, we renovated one of our homes in Salento, specifically in Sogliano Cavour (LE). We furnished it with objects we’ve designed from the beginning of our career to today—projects spanning different materials: wood, fabric, upholstered pieces, mirrors, sanitary ware, ceramics, metals, and lighting. By incorporating all these elements, one can see they are all part of the same vision: individual elements forming a harmonious whole, much like instruments in an orchestra. This demonstrates the common thread in our continuous research into form applied to function, which has been our focus since the beginning.
THE FUSION OF THESE TWO VISIONS —THE SARDINIAN AND THE ROMAN —HAS ALLOWED US TO DEVELOP A DISTINCTIVE AND INNOVATIVE APPROACH
You’ve probably answered this a million times, but I’m curious—how did you two meet? Was it romantic? What kind of day was it?
R: We met at a dance in Rome while both studying architecture in the Eternal City. After eight months of persistent courting, we began dating. From that day on, we have never been apart, and alongside our life together, we began realizing our professional dream. In 1994, we founded the Palomba Serafini studio.
L: The places we come from have significantly contributed to our creativity.
R: I am from Sardinia, a wild and authentic land, rich in ancient history and deeply rooted traditions. Sardinia’s breathtaking landscapes, with rugged coastlines and lush mountains, have profoundly influenced my approach to design.
L: I come from Rome, a city that is a true open-air museum, where historical eras blend into one magnificent metropolis. Rome is a city of contrasts, where the ancient intertwines with the modern, and Baroque opulence coexists with Renaissance sobriety. The fusion of these two visions—the Sardinian and the Roman—has allowed us to develop a distinctive and innovative approach.
What were the early days of PS+A like?
R: Very quiet. It was just the two of us, with plenty of time to dedicate to our work. We would come home, and the days felt endless; sometimes, we’d find ourselves staring at the wall, asking each other: “What will we be when we grow up?” Today, on the other hand, the days fly by! Sometimes, we can’t even find time for a break. Everything is so hectic—a true race against time, with so much to do that we often realize the day has ended before completing half of what we had planned.
The difference between those early days and now is that back then, we had time. Yet today, we might still be asking ourselves the same question: “What will we be when we grow up?” And the answer is probably just one: on vacation!
MISTAKES ARE NOT DEFEATS BUT LEARNING OPPORTUNITIES —A FUNDAMENTAL STEP TOWARD GROWTH
What advice would you give to the impatient Gen Z when it comes to work?
Don’t try to leave your mark at all costs—focus on being yourself. Designing is one of the most powerful forms of self-analysis because it forces you to reflect on yourself and society. Every design decision represents a path among thousands, and that path is yours alone. No one—not even artificial intelligence—can choose it for you, because only you possess the motivations that drive you in that direction.
Being a designer means knowing who you are and who you want to become. To express that through your work, you must be willing to make mistakes. Mistakes are not defeats but learning opportunities—a fundamental step toward growth. Expecting immediate success without failure leads to frustration. True success comes with patience and perseverance.
L: My advice to young people is to study extensively. Today’s creative world moves at an incredible speed, with tight design deadlines, but knowledge is essential. It acts as a puzzle that you later reorganize through your unique perspective, allowing you to create distinctive projects and stand out. Conformity is the total loss of value for a creative.
So, my advice is: study hard, travel as much as possible, and never let yourself get distracted by your phone. Observe details, understand why they exist in a particular time and place, and reinterpret their meaning in the present. Work hard—only perseverance pays off. Inspiration must be sought through experiences and collaborations beyond architecture and design—whether in cinema, literature, or fashion.
Sharing both your work and life—what has it brought into your lives?
L&R: When we work with shared values and a unified vision, not only does it make disagreements rare, but it also builds a deep and harmonious connection that reflects in every project. A project created by four hands is not just the result of collaboration but a merging of minds that enrich one another. It is a shared journey where every decision is the outcome of constant dialogue and mutual commitment, strengthening each idea over time.
During the design process, who makes the final call? Who’s the real boss? Do you argue, or are there areas where you’re always in sync?
L&R: At the core, there is profound harmony and mutual understanding. Occasionally, one of us becomes more invested in an idea, but there are no real arguments—just immense respect and admiration for each other’s vision. Every project is enriched by our exchange of perspectives, making it even more meaningful.
It’s hard to categorize your creative career. But what excites you the most—designing spaces (homes, hotels,etc.) or products?
R: We are excited by challenges—anything new and different that pushes us to rethink ourselves. This mindset sets us apart because doing something you’ve never done before truly allows you to learn a great deal.
L: Personally, I was born an architect. As a child, I would spend hours observing my mother’s floor plans, imagining myself as a tiny ant walking through the various rooms and inventing stories. Architecture is an innate passion for me. I see an architect as someone with a global vision, an ability to refine an idea step by step until it reaches its full potential. So, definitely architecture.
I’M NOT A FAN OF LARGE TABLES WITH TOO MANY CHAIRS LEFT EMPTY —IT MAKES ME FEEL A BIT SAD
Roberto, I read somewhere that you’re not a fan of dining chairs at home. And I think also wardrobes in the bedroom? Can I ask why? Are there other rules or types of furniture you avoid at home?
I’m not a fan of large tables with many chairs around them that, in the end, remain empty. When they are visible all day in a living room, they make me feel a little sad. I prefer, as I did in my own home, to transform the table into a kind of installation, bringing out chairs only when needed. I don’t like seeing empty chairs around a table, with all the legs creating disorder. But if you’re lucky enough to have a separate dining room, then you can have as many chairs as you like.
As for wardrobes, I believe they are best placed near the entrance of the house. When you arrive home, you step into your own space, take off your day clothes, and in that moment, you can begin to unwind. The wardrobe moment should be a transition from the outside world into a personal retreat. I have no objections to specific furniture pieces, but I certainly have my own rituals, like everyone else.
Ludovica, for you, what makes the perfect home design? What elements do you prioritize the most?
I think the word perfection is tied to the concept of the "here and now." I embrace disorder—it holds great value for me. From chaos, something new is always born. Perfection is unattainable; as far as I’m concerned, the word could disappear from the dictionary altogether. The fundamental aspect of a home is its mood—a reflection of the inhabitant’s state of mind. Good design should create harmony within a space. Since we inhabit spaces in many forms—our home, a car, a museum—we should aim to make each of them feel good to be in. That’s what truly matters.
MUTUAL TRUST AND A GREAT DEAL OF PATIENCE
Over the past 30 years, you’ve collaborated with leading brands like Zanotta, Foscarini, Poltrona Frau, Bosa, and Lema. What are the key elements to ensure harmony between a designer and a brand?
R: Mutual trust and a great deal of patience. For designers, respect for the brand is essential. Too often, we see projects where designers impose their personal vision without honoring the company’s identity. A successful collaboration requires synergy: I bring my vision, the company brings its identity, and together we create something more significant than what either could achieve alone. Listen, learn, respect—these are the principles that foster growth.
L: I deeply believe in the principle of Yin and Yang—harmony cannot exist without a degree of contrast. The essence of any authentic collaboration is shaped by differences. A designer-brand relationship goes beyond the professional—it is, above all, a human connection. It involves intense exchanges, highs and lows, moments of great synergy, and inevitable friction. But it’s precisely in those tensions that the deepest insights emerge, the strongest ideas take shape, and the most meaningful results are achieved.
Is there a particular brand collaboration that you’ll never forget? Can you share why?
R: Personally, I think back to the years spent at Zanotta with Martino Zanotta, who, sadly is no longer with us. Those were truly wonderful years. Of course, there was the professional side, but what made them so special was the deep friendship we shared—beyond just our work relationship. That bond extended far beyond the business, making every moment meaningful.
L: Without a doubt, one of the most important experiences of my career was meeting Enrico Astori and beginning to work with Driade. I had the opportunity to form a deep connection with an extraordinary architect—not only in terms of vision but also on a human, cultural, and creative level. He was an incredible source of inspiration, and in the world of design, he is the person I miss the most. Another company where designing is always a pleasure, and perhaps one of the longest-running collaborations we have, is Foscarini. We started working with them on glass lamps when their headquarters were still in Murano—projects that later became bestsellers. With Foscarini, every collaboration has been a constant journey of discovery.
WHEN YOU HAVE DOUBTS, YOU SEEK ANSWERS, AND THAT PROCESS OFTEN LEADS TO INNOVATIVE AND BETTER SOLUTIONS
Roberto, in one of your interviews, you said, “I’m still a child, and I hope to stay a child forever. Growing up means losing curiosity, and I’m still growing.” That was so inspiring! Do you think growing up equals being boring? Is a designer more successful and effective when they preserve their inner child?
R: I believe that growing up allows you to gain experience and greater control over your work, which is certainly valuable. However, one must be careful not to let experience become a limitation. Sometimes, because we know certain approaches, finishes, or designs work, we tend to repeat them and lose the desire to question ourselves. I believe youth is defined by having doubts, while maturity sometimes leads to false certainties. The key is to embrace doubt as an opportunity rather than a limitation. When you have doubts, you seek answers, and that process often leads to innovative and better solutions. If you stop questioning and assume that what has worked before will always work, eventually, someone else will come along and do it better—challenging your approach and offering something new. That’s exactly what I did when I was younger: questioning existing ideas.
When we’re young, we must doubt what came before us. When we’re older, we must learn to doubt ourselves. So if being childlike means staying curious and always questioning, then yes—preserving that mindset is essential for any designer
Should a designer be an unattainable, almost godlike figure, or more down-to-earth?
R: I don’t believe designers should be seen as deities. Designers are human beings like everyone else. The issue is that some have turned this profession into a kind of cult, and as long as people admire them uncritically, they will continue to cultivate that image. For me, design is a beautiful profession that deserves respect and recognition, but it is still a profession—not a status. If a designer creates successful projects, they absolutely deserve admiration, just like any other professional. However, when admiration turns into worship, when designers claim to be above others or behave as if they are untouchable—that’s an entirely different story. Let’s think carefully about karma.
L: In today’s world, where everyone seems to claim expertise in everything—whether as great chefs, designers, photographers, or critics—I, as someone who is simply an architect, often feel like a secondary figure. Perhaps, then, the ability to impose one’s vision is more valuable than ever. However, on my journey, I will always encounter people who believe themselves to be great, even when their profession has little to do with creativity.
