What excited you about designing a private office system?
The interesting thing about the private office is that even when people leave that space, they have a connection to it. It reflects their persona, the image they wish to portray. I was drawn to the idea of designing something so intimate and so connected to the people in the space. I always want to create a meaningful connection with the user, and to foster interaction with the product. With Konzert, the material quality and the level of customisation allow anyone to define the system according to their unique identity.
How did you use your architectural background to make Konzert easy and functional?
To plan and define this system, I really had to understand the architect mentality. Konzert has a strong connection with the architecture. It starts from the wall and it develops into the space. From an industrial design perspective, it was impossible to foresee all the activities that could take place in those offices. So, we designed Konzert to give planners the freedom to explore and create, providing many elements and solutions for different needs.
How does Konzert expand the design limitations of private offices?
I wanted to challenge the rigid nature of private offices, so I designed Konzert to be lighter and more unexpected. I explored open volumes, voids, and spaces to create a sense of balance and tension. I also played with lines, basing everything on a rational grid. It gives rhythm to the space, and it provides planners the necessary constraints to define the system. The elements can be arranged in a way that feels more free.
How did the design legacy of Florence Knoll help inspire your concept?
Florence Knoll, with her Planning Unit, basically invented the discipline of interior design as we know it today. She bravely challenged common rules in the workplace. For example, she introduced the table desk as a central table in an office, which replaced the idea of a working desk aligned with the walls. I tried to infuse some of those ideas in my own way to challenge the status of things.
For example, we incorporated the Florence Knoll handle, which is a very iconic piece of the Knoll DNA, and it’s a huge honour to have it in my system. It is modern, elegant, and a very subtle detail, but it is such a strong, functional design. I tried to infuse some of this character in the overall system.
In addition to the Florence Knoll handle, are there other options?
Yes, there is the option for no handle at all, as well as the option for an extruded handle I designed for Konzert. This innovative handle can be used horizontally and vertically on different door types, from sliding hinge drawers to tall wardrobe doors. On one hand it’s designed to disappear but it’s also a subtle, functional way to announce the direction of each horizontal or vertical volume.
You designed a banquette as part of Konzert. Why was it important to include it in the collection?
This is something that we see more and more in private offices. And what is special about our design is that it’s a fully upholstered piece; it’s not just a cushion sitting on a cabinet. It’s a strategic planning element because it brings some softness into the workplace. I like having a dialogue between hard and soft materials to create a sense of balance. Introducing an upholstered piece also allowed us to play with the iconic features and fabrics of Knoll and bring more of that identity into this system.
How did you incorporate lighting as a key feature of the collection?
I drew inspiration from theatre lighting to highlight the beauty of the furniture. The lighting can be controlled from wall switches or directly on the object. The latter creates this spontaneous interaction between user and light source; you just reach over and adjust it.
How does your everyday life in Milan serve as a source of inspiration for you?
What I like about Milan is that there is a sort of hidden beauty. You have to look for it. I think Konzert is the same. It looks good at first sight, but when you start exploring it, you find a level of detail and care that is so unusual in this category of products that really makes it outstanding. I like the idea that the more you live with the product, the more you fall in love with it. You discover more features, and you make it your own.
Looking ahead, what do you imagine workplaces will look like 50 years from now?
I think that in the next 50 years we will see new modes of work which we cannot imagine at the moment, coexisting with things we already know, and changes will happen faster. An office system needs to be able to follow this rapidly. Through the elements composing this system, I believe Konzert can be an answer to this need. Every configuration tells a different story, like notes arranging a music score, and I'm excited to see what people will compose with it.
Why did you want to work with Knoll on this project?
Knoll has a rich history in craftsmanship and manufacturing, with an artisanal approach that’s still used today. From the design phase to the engineering phase, every detail was carefully considered, and each material expertly selected. Knoll produces collections by the greatest masters of design, and it was rewarding to see the same care and quality applied to the production of Konzert.
About the Designer
Industrial designer Paolo Dell'Elce brings clarity and precision to the furniture, lighting, and products he designs. Based in Milano, Italy, he knows what clients, architects, and designers are looking for when designing private offices in Europe, Africa, and the Middle East. Since 2015, Dell’Elce has been Associate Director at David Chipperfield Architects in Milan, where he leads furniture and product design as well as interior-related design projects within the practice. He also designs independent work under his own name. In everything he does, Dell’Elce focuses on results that have precision, proportion, and long-term use.
“I'm not interested
in furniture per se;
I'm interested in ideas
and the expression of
human beings.”