Michele de Lucchi’s recent appointment as creative director of Triennale Milano feels like a seismic shift in the design world. It’s not just about who’s leading the charge—it’s about what this move signals for the future of design institutions. Triennale, long a beacon for avant-garde creativity, is now under the stewardship of someone who’s spent decades straddling the line between art and functionality. What makes this particularly fascinating is the contrast between de Lucchi’s pragmatic, human-centric approach and the increasingly abstract, tech-driven narratives dominating design discourse today. Personally, I think this appointment is a masterstroke. It’s a deliberate nod to the idea that design isn’t just about aesthetics or innovation for innovation’s sake—it’s about solving real-world problems with elegance. But what does that mean for the rest of us? Let’s unpack this.
The timing of this appointment couldn’t be more telling. Just look at the projects flooding the design scene: BIG’s Dymak HQ, with its obsession over natural materials like cork and eelgrass; Gehry’s billowing performing arts center in Abu Dhabi, which leans into fabric-like forms that defy traditional architecture; Herzog & de Meuron’s Al Maha Island masterplan, blending luxury with cultural preservation. These aren’t just buildings—they’re statements. They’re about materiality, experience, and the blurred lines between art and utility. And yet, none of them feel like they’re pushing boundaries in the way de Lucchi has. His work with projects like the Milan Cathedral restoration or the Venice Biennale pavilions always had this grounding in history while reaching toward the future. That duality is what makes him a rare breed in today’s design landscape.
What many people don’t realize is that de Lucchi’s influence extends beyond architecture. He’s a philosopher of design, someone who understands that form follows function but also that function must serve humanity. Take his work on the Triennale’s past exhibitions—each one felt like a dialogue between tradition and modernity. Now, with him at the helm, I suspect we’ll see a renaissance of projects that prioritize human scale over spectacle. This raises a deeper question: Are we tired of the hyper-technological, often alienating designs that dominate today’s skyline? If you take a step back and think about it, the last decade has been dominated by sleek, glass-and-steel monoliths that prioritize image over experience. De Lucchi’s appointment feels like a counter-movement—a call to return to materials that breathe, spaces that connect, and designs that feel like they belong to the people who use them.
A detail that I find especially interesting is how de Lucchi’s work often incorporates elements of storytelling. His designs aren’t just functional—they’re narrative-rich. Imagine a Triennale exhibit that doesn’t just showcase objects but weaves them into a larger cultural tapestry. This approach could redefine how design institutions engage with the public. Instead of passive observation, visitors would become participants in a living, evolving story. What this really suggests is that de Lucchi sees design as a language—one that needs to be spoken in a way that’s accessible, inclusive, and deeply rooted in context.
Looking ahead, I can’t help but wonder what this means for the next generation of designers. Will we see a shift toward more sustainable, community-focused projects? Will the emphasis on materiality and human-centric design become the new norm? The projects currently in the pipeline—like BIG’s Juneteenth Museum in Fort Worth—already hint at this trend. They’re not just about creating spaces; they’re about creating meaning. And that’s where de Lucchi’s vision aligns perfectly. If Triennale under his leadership becomes a platform for these kinds of projects, it could set a new standard for what design institutions can—and should—aspire to.
In my opinion, this is more than a leadership change. It’s a cultural pivot. The design world is at a crossroads, and de Lucchi’s appointment is a sign that the pendulum might finally be swinging back toward designs that nourish the soul as much as they impress the eye. Whether this heralds a new era or a fleeting moment of reflection remains to be seen. But one thing’s certain: the conversation around design is about to get a lot more interesting.
