Born in Cremona in 1960, he graduated from the Faculty of Architecture of the Milan Polytechnic where he attended the courses of Achille Castiglioni and Marco Zanuso. In 1991 he opened his own studio in Milan, dealing with interior design, design, art direction and graphics, after having collaborated with the Michele de Lucchi studio from 1983 to 1991, becoming a partner in 1986.

Since 1991 he has been the Art Director of Kartell, a role he has held over the years for other companies such as Flos, De Padova, Foscarini, Moroso, Society (Limonta), Emmemobili. He designs commercial spaces and fittings, but also offices and residences, for private clients and furniture and fashion companies including Cassina, Dolce & Gabbana, Dada - Molteni & C., Barovier & Toso, Piper - Heidsieck, Foscarini, Missoni, Citroen, Hansgrohe, Martini and Rossi, Swarovski, Veuve Cliquot, LVMH Group, Cotto D'Este, La Rinascente, Lead, Ermenegildo Zegna, Paula Cademartori, Renault, Zuhair Murad, Haworth, Emilio Pucci, Zara, Habitat, Pasticceria Cova, Samsung.

He designs furniture and lamps for the most prestigious design companies. Some of his collections have been the protagonists of exhibitions such as the lamps designed for Kartell in the 2008 “LAviani pLAstic LAmps” exhibition in Milan and the furniture designed for Emmemobili in “Peep O Rama. The Furniture Show ', an exhibition set up at the Metropol Dolce & Gabbana theater in 2018.

His products are in the permanent collections of design museums and are selected for international collectives, such as the Good Vibrations cabinet for Fratelli Boffi, exhibited at the "Thrill of Deception" exhibition at the Kunsthalle in Munich in 2018 and the following year at " Le mobilier d'architectes 1960 - 2020 ”exhibition at the Cité de l'Architecture & du Patrimoine museum in Paris. Among the installations he has dealt with in recent years, it is worth mentioning in 2015 the new concept of the Kartell museum in Noviglio, already winner in 2000 with the previous project, of the Guggenheim Impresa & Cultura Prize, as the best business museum. In 2017 he was responsible for the preparation of the High Fashion Show for Women and Men for Dolce & Gabbana at the Ansaldo Laboratories of the Teatro alla Scala, Milan and, again the same year, in the Palermo edition. In 2019 he curated and designed "The Art side of Kartell", an exhibition staged at the Palazzo Reale in Milan and in November of the same year, "KartellLand - Celebrating 70 years of Italian Design History" retrospective on the company, set up at the International Art Shenzen Design Center.

There are several collaborations with Lea Ceramiche. From The Anthology Impact, showcase of the 2020 Via Durini showroom, to the installation Endless Landscape, for Milan Design Week 2021, created with the collectionMasterpiece, signed by him.

“Colour and material are the foundation of my work and every time I find it fascinating to venture into new projects and research endeavours. Masterpiece is the perfect balance between two elements: the texture and uniform colour of Master which, with the simple addition of small fragments, transforms into Piece, a ‘terrazzo tile’ with a subtle and delicate pattern, articulated in various shades of colour. An architectural surface for interior and exterior spaces which, in addition to having its own distinctive identity, can be combined with materials and finishes from other Lea Ceramiche collections, giving a unique and personal style to each individual project."

The collaboration with Studio Laviani continues in 2022 with Perspective in Milano Design Week and with the launch of the Pigmenti collection.

“The Pigmenti collection was born from the desire to express myself with colour and, above all, from the desire to enhance ceramics as such, overcoming its ‘chameleon-like’ side that very often sees it as a replica of other materials. It is natively the result of manual skills, expression of an idea through hands that shape the material. This is what I set as a goal for myself with Pigmenti: to transpose that sense of craftsmanship and tactility on a purely industrial material. In addition to the colour, I worked to make its appearance as natural as possible not only in tones but also in touch. Pigmenti is not just a shade or a ‘surface’ attribute given to the material. It is itself a material colour, a pigment in fact, which penetrates the slab to become an integral part of it.”