Kiki Goti

25 Mar

Kiki, please introduce yourself:

I am Kiki Goti, a designer and architect based in NY. My practice spans furniture, public sculptures, and interior design, engaging with notions of femininity, beauty, and ornamentation through various material experimentations.

#1 How did you find your way into architecture and design? What initially sparked your interest, and how has your journey shaped your approach as both a designer and educator?

As a child, I loved drawing and painting, and I was also a strong student — analytical and methodical. At 17, I felt architecture might be a good fit for me, and fortunately, it turned out to be a great choice — I really enjoyed my studies. Architecture school provided me with a solid foundation in design thinking.

After I graduated, I felt like I needed to know a bit more about materials and making, so I pursued a master's program in Stuttgart, Germany that was focused on innovative material research and computational fabrication techniques. This is where I learned how to make things, or how to try to make things even if I have no clue. It was challenging but it completely changed my relationship to tools and materials.

Reflecting on that experience now, I can see that my studies provided me with strong foundations, but they were also full of rules, regulations, and limitations — things I eventually felt the need to break away from. My practice now feels much more personal, yet still reflects a deep understanding of materials and techniques.

As an educator, I teach classes that encourage students to combine technical skills with personal expression — which continues to be my own ongoing journey as well.

#2 Together with Vincent Staropoli, you run The House Special Studio;. How does your Mediterranean heritage shape your avant-garde approach to design, which stands out with its unique, trend-independent aesthetic?

I am happy you say “ trend-independent aesthetic”. I can’t stand trends — they undermine the value of our field, reducing it to something superficial.

In our interior design practice with Vincent we are trying to bring pieces of our past, our memories and our upbringings into our design process. We collect things and we love matching antiques with contemporary avant-garde pieces. We also love supporting independent designers and artists, and create projects that reflect the art communities they are in - that’s part of our philosophy.

We have very different backgrounds - Vincent comes from film-making and photography, and I come from architecture and material studies. The initial part of every project is an explosion of references to film, paintings and places we visited while traveling.

Belted Mirror_Photography Chelsie Craig.jpg

Belted Wall Lights_Photography Chesie Craig.jpg

Belted Mirror © Chelsie Craig

#3 The objects you design have a distinct language of their own, yet they don’t seem bound by strict rules. How do you manage to maintain a cohesive vision without being constrained by fixed principles?

I don’t know! It’s a constant struggle — but also the most exciting part of my creative process. I approach design quite intuitively, and I’m always striving to reach a state of fearlessness and audacity that stems from deep confidence. It’s really hard, I have to admit — you’re not just working on a collection; you’re also working on yourself!

One thing that helps me a lot is starting with a concept I personally connect with. Early sketches often feel unfamiliar, like “Wow, this doesn’t look like anything I’ve designed before.” But as I keep working, the pieces start to find their place. If the working process is genuine, I trust that it will eventually make sense as part of a larger body of work.

#4 You have created several installations in public spaces in the past. What makes working in the public realm special for you, and how does it differ from private commissions in your view?

Working in public spaces is a whole different story. For me it's the essence of design as it democratizes its value by giving access to a wider audience. The public structures I designed were actually in the beginning of my practice. The last couple of years I have been more focused on furniture and collectible pieces, since it was easier to work on my design language on a smaller scale. But recently I have been craving to go back and explore public structures from where I stand as a designer right now. I am manifesting now but I am sure the right opportunity will come soon.

Working in public spaces is an entirely different experience. For me, it's the essence of design — it democratizes its value by making it accessible to a wider audience. Interestingly, my work in public structures came at the very beginning of my practice.

In recent years, I’ve been more focused on furniture and collectible pieces, as working on a smaller scale allowed me to better develop my design language. But lately, I’ve felt a strong desire to return to public structures — this time approaching them from where I stand as a designer right now.

I suppose I’m manifesting it now, but I’m confident the right opportunity will come along soon.

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#5 What role do materials, textures, colors, and even words play in your work? And how does your research and creative process unfold when starting a new Project?

It is not a very straight-forward process. Sometimes I start by playing with a material technique and a full concept emerges. And other times I have a strong idea and then I choose to work with materials that might help me express it. It is a fuzzy process.

#6 You teach at Pratt Institute and Parsons School of Design. What subjects do you focus on, and what is the key takeaway you strive to impart to your Students?

I teach classes that explore making across different scales and contexts — from architecture and interior design to furniture. As an educator, I believe it’s crucial to show students the true value of design — its potential to inspire, empower, and shape the way we live. I encourage students to see design not only as a means of personal expression but also as a tool for communal empowerment.

Moon Bench_01_Photography Galerie Paradis.jpg

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Moon Bench © Galerie Paradis

#7 How do you see the role of an architect in today’s society?

It’s tricky. We live in a hyper-capitalist society, and architecture is deeply intertwined with this system. It’s a slow, old-fashioned field — arguably the most conservative of all design disciplines — and acknowledging that is essential if we want to move forward.

At the same time, architecture has an immense impact on our lives. I believe architects should be more vocal about the systemic issues that constrain their work and more resistant to external forces that attempt to shape architecture today.

#8 How does your environment influence your work?

A lot. That’s why I try to travel as much as I can. I usually design new work in the summer when I’m in Greece or somewhere sunny and quiet in Europe. Then I bring those ideas back to New York in the fall and continue refining them in Brooklyn. I feel like my work is this strange mix of salty skin and loud subway.

#9 Three things that inspire you at the moment?

The female body, jewellery and venetian ornaments.

#10 What do you currently read, watch, listen to?

I am reading “ Brassaï/Picasso, conversations avec la lumière”, watching “The Color of Pomegranates “, listening to “The art angle”.

#11 What are you planning for Milan Design Week 2025?

This year I am showing a series of hand-blown glass vases at Alcova in Villa Borsani. The vases were made in Venice using traditional Murano glassmaking techniques. They are an ode to artisanal craftsmanship and femininity, inspired by the Graces of Greek mythology—goddesses of beauty and creativity—.

Each piece is envisioned as a female figure adorned with jewelry. There is a first layer of glass that's blown in organic shapes to represent the female body. Then, a second layer of glass is applied that is pinched and deformed to create the jewellery-like and gem-like ornaments on the bodies.

The glass jewellery celebrates the strength of the female body, honoring its complexity, grace, and resilience.