Varying taxonomy in furniture design & production
I am an architect and interior and spatial designer, recently graduated with a master’s degree from Politecnico di Milano. My academic journey began with a bachelor’s degree in architecture from the University of Prishtina in Kosovo, followed by a two-year master’s program in Italy, where I specialized in sustainable and adaptive design systems that bridge circularity with creative innovation.
Currently, my work focuses on developing new approaches to furniture design that aim for zero waste by leveraging emerging technologies and artificial intelligence. I explore how digital tools can support more efficient, responsible production processes while maintaining a strong commitment to craftsmanship and material awareness.
In addition to my design research, I have a strong passion for ceramics and hands-on making. I have led and facilitated ceramic workshops in collaboration with various communities and organizations, using the practice as a therapeutic tool for children with autism and women who experienced trauma during the war in Kosovo. These experiences have shaped my perspective on design as a socially engaged, healing, and transformative practice.
The idea for this project began with the urgent need to rethink how we design and produce furniture in a world facing environmental crises and growing waste. I wanted to challenge the linear model where objects are made, used, and discarded and propose a circular, adaptive system that keeps materials in use longer and empowers users to shape their environments.
The varying taxonomy I propose is an online platform powered by AI that helps people turn unused furniture parts into valuable products instead of waste. Users can upload photos of the parts they have, and the AI generates ways to join them solutions beyond what most non-designers could imagine.
This process empowers users to become co-designers, giving them tools and inspiration to create unique configurations and extend the life of their materials. The possibilities for combinations are nearly endless, limited only by each part’s lifespan. By bringing individuals, designers, and producers together, it makes saving and reusing materials easier and more creative.
A key aspect has been balancing advanced technology and hands-on making. Alongside digital development, I have kept a strong connection to craft, especially through work with ceramics. Teaching ceramic workshops to children with autism and women who experienced trauma during the war in Kosovo showed the healing power of tactile, creative processes. This reinforced my belief that design is not only about efficiency but also about social impact and care.
The project shows it is possible to merge sustainability, adaptability, and user engagement into a cohesive system. Looking ahead, I see this approach expanding into larger applications and community platforms where people co-create and customize products. With this proposal, I also aim to introduce new aesthetics shaped by collaboration and circularity.