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DFW is a design office established in Milan, Italy, at the end of 2021.


The Workshop's independent and lightweight working structure allows it to blossom at the juncture of architecture, design, art, and technology. The investigation of the identities of objects and environments in a 3D digitality helps to bridge between real-world architecture or design products and 2D social media. DFW positions itself as independent of the physicality of its typical design users in quest of forging a brand new aesthetic and aims to respond appropriately to every design question with an experimental style outside the box.


Being conscious of the fact that people become .jpegs and that buildings become contents in our consumption platforms, the spaces and objects designed in the Workshop are 3D content with no real-life function. This decrease efficiently reacts to the pace of current user practices without sacrificing the quality of its meaning; in contrast, it even leads to the emergence of new perceptions as it covers the manufacturing cycle with creativity.  

New trends appear at every stage of history, along with era changes and the development of new technology. These movements have altered the traditional designs of creations like churches and works of art. These everyday things evolved due to a novel physicality that DFW labels "Religious Robotics.


Through architectural experiments with RR, DFW hopes to bring this language's traces to the surface and illustrate how concepts like Metaverse, AI, ML, and web3 generate innovative aesthetics, a sense of belonging, and identity that dialogues with the ongoing renaissance. We are lines of code within that environment, where the only life is that which resides virtually. We can envision public interfaces to communicate with AI-generated realistic NPCs or with each other in a software landscape whose irl abstract references morph from being nostalgic transitional elements to not existing with the dominance of the new.

The designs are entirely usable in digital ecosystems and could be owned with smart contracts. Even though their renders exhibited here as a pdf is a static medium, by visiting Opensea page or selected metaverses, you can explore the 3D interface of each one of them. The primary purpose of creating these digital objects is to utilize them in real life by emerging technologies such as Artificial Reality glasses or metaverse.

Attended Exhibitions

Power of the Nature@Fabbrica Del  Vapore, Milano / Italy - 2019

The Art's Special Projects@Fabbrica Del  Vapore, Milano / Italy - 2019

Communitas III: Digital Community by Kollektiv Kollektiv@ Kunsthaus Steffisburg, CH - 2021

New Freedom Think @ Mads Gallery, , Milano / Italy - 2022

Art Design @ Holy Art Gallery, London / England - 2022

Klein Metaverse Event @  BabylonsNFT, Yacthingverse - 2022

DYOR @ Kunsthalle Zürich, Zurich/ Switzerland -  2022


Creatorverse Buildathon by Parcel x PangeaDAO, 2022

Winner of Music Venue

Runner-Up for Meeting Space


Grant Program by EnterDAO’s Landworks, 2022

Winner of Fashion Venue

Winner of HQ

How is your work unique? 


They are screenshots from dreams that I saw awake. In daily life, a moment to isolate yourself mindfully like in a dream would be precious.

How do you do your work?


First, I split all the colors that I don't want for the composition on my head. After a lot of uncalculated accidents, I always try to hang on to the last one I liked, and the process of experimenting becomes an endless moment of expression. For me, the process resembles a fight of re-finding the purity of the white canvas. What I spontaneously add to that minimalistic emptiness is the observations. What are those subconscious observations? Well, beyond the physical world, the moving aura frequencies and their unreasonable colors are the only way to feel a being's state of the soul. In that sense, I try to describe people's ordinary madness or childishness from the frame of my daily life. What I achieve in the end? A composition that is boldly contrasting to an empty canvas. This unsuccessful conclusion always drives me to re-paint. 

Explain your work to a child.


Hey kid, I know how you feel when you play lego or watch cartoons while eating cereal. I think the same when I paint; the difference is that your imagination borders are not beaten or destroyed yet by some boring reality. You play a game, and you believe it's real, and that attitude is what I strive to mimic. I see a blank piece of a canvas or anything, then I draw how I see people with crayons, and I believe in it like you do. Sometimes they're bad people, sometimes they're right; some of them are vulnerable, and some are evil, unfortunately. Anyway, I put them in a scene where they interact or play together. Although they become my figures to play, rather than strangers in the street. Their body or skin color or muscles are not like in real life; I play with it too. It is not like idolizing or hating something as adults say; it's just a game that I am curious about. 

Who are your influences?  


When I was a teenager, my intellectual route for meaning is shaped by two ideas. My first influence was the Renaissance idea; it has a sense of death, to re-born. So, I rehearse my own pre-renaissances again and again. Then I obsessed with the Poetes Maudits like Baudelaire, Rimbaud a bit. Their effort to find beauty in the trash or anything ugly in a poetic way pushed me more than conventional interpretations. My architectural background helped me think abstractly to create dynamic forms as a live sketch for the relation of forms. Artistically, Italian Futuristic ideas and paintings or experimental jazz sound like Sun-Ra songs, and Tupac's natural aggressive flows are kinds of my zero-point. Then the way of expressing myself as a painter is influenced a lot by the era after WW2. An expression style after a wrong time like war carries the safe nihilistic feelings to find meaning in a decentralized technologic habitat. 


Who is your audience?   


Anyone who has a wish to understand chaos better. I organize chaos like a child, which is the best way to do it and understand it. And they would want to hang any of my artworks to the hole; because you have to be kind of crazy to hang it in your bedroom. But I sense that my real audience prefers to hang in bedrooms, where dreams happen. Straight to their beds. Because plans are mostly created by dogmas, my wish is to transform it into a "genderless" and "colorless" trip. 




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