Benedetta PompiliDesignMaterial Research
About Benedetta Pompili (IT, 1995) is a social designer based in Amsterdam. A dedication to materials with a focus on their narratives and environmental impact identifies her practice. She rethinks manufacturing techniques and their aesthetics toward circular making. Her research aims to share knowledge, motivate care, and retrace tradition by thinking and acting in an interdisciplinary way.


Recent and ongoing work

Selected exhibitions


Master, Social Design, Design Academy Eindhoven (NL), Gijs Bakker nominee, 2019–2021.
Erasmus, Peter Behrens School of Architecture and Design, Düsseldorf (DE), 2017–2018.
BA, Industrial Design & Advanced Ceramics, ISIA Faenza (IT), Cum laude, 2014–2018.

Residency, Creative Residency Arita, January 2024-ongoing.
Tutor, Natural Materials in Ceramics, The Material Way, January 2024-ongoing.
Fellow Researcher, LINA x TU Wien, Vienna, October 2023-ongoing.
Tutor, Gerrit Rietveld Academie, Amsterdam (NL), September–December 2023. 
Ceramic workshop specialist, Gerrit Rietveld Academie, Amsterdam (NL), March 2023–ongoing.
Ceramic production consulent, Bruno Baietto’s In Bones We Dwell, Dordrecht’s Museum (NL), 2023.
Ceramic workshop specialist, Royal Academy of the Arts, The Hague (NL), January-August 2023.

, Prinsenhof Museum Delft, The Netherlands, February-June 2024.
In Presence of Your Absence
, Hong Kong Design Institute, Hong Kong (China), January-May 2024.
Conversing with Matter,
Sustainable Ceramics, Princessehof Ceramic Museum (NL), Nov 2023–2024.
In Bones We Dwell For Yours We Wait
, consultancy for Bruno Baietto, Dordrecht’s Museum (NL), July 2023.
In Presence of Your Absence, ADI Design Museum, Milan (IT), 2023.
Vestiges, Alcova, Fuorisalone, Milan (IT), 2023.
In Presence of Your Absence, Material District, Utrecht (NL), 2023.
Raw.obj, The Future of Art Making, Rijksakademie van beeldende kunsten (NL), 2022.
Ciona Are Doing Well, SVA Bio Art Lab, New York, 2022.
SPAZIO 1/2: Worskshop “Clay Dialogues”, Drop City, Fuorisalone, Milano (IT), 2022.
Sea Silt, collaboration with Humade, Ceramics Museum Princessehof, Leeuwarden (NL), 2022. 
Conversing with Matter, DAE75!, Fuorisalone, Milano (IT), 2022.
Conversing with Matter, Rethinking Plastic, Yksi Expo , Eindhoven (NL), 2022.
Conversing with Matter, Design Fest Gent, Design Museum Gent, Gent (BE), 2022. 
Conversing with Matter, From the Ground Up, Material Source Studio, Manchester (UK), 2022.
Conversing with Matter, Design Open, Kazerne, Eindhoven (NL), 2021–2022. 
Conversing with Matter, Dutch Design Week 2021, DAE Graduation Show, Eindhoven (NL).
Ciona Are Doing Well, Interspecies Futures, by Oscar Salguero, NY Center for Book Arts, 2021.

Conversing with Matter,
Design Unlimited Turkey, October 2023.
In Presence of Your Absence
, Italy: A New Collective Lanscape, Mousse Magazine Ed., April 2023.

Conversing with Matter, DAMN Magazine, Issue N° 82, June 2022.
Conversing with Matter, Plural Magazine, 2022.     ︎︎︎Conversing with Matter, Elementa Oslo, 2022.
Conversing with Matter, The Color Association, 2021.
Conversing with Matter, Het Financieele Dagblad, Culture section, 2021.
Conversing with Matter, Wallpaper Magazine, Design section, 2021.
Ciona Are Doing Well, Design Parallax, curated by Angela Rui, MDFF Greece, 2020.

Grant, Starting Design Grant, Stimuleringsfonds, The Netherlands, 2023-2024.     
Award, Young New Talent, Material District, Utrecht (NL), 2023.
Grant, Creative Residency Arita, Japan, Stimuleringsfonds, 2024.
Grant, Building Talent, Stimuleringsfonds, The Netherlands, 2021.
Nominee, Gijs Bakker Design Award, Design Academy Eindhoven, 2021.

Studio details
KvK 84375779
Btw-id NL003954350B29


In Presence of Your Absence

Conversing With Matter

FU Review Berlin N11 Still
Sea Silt by Humade
FU Review Berlin N10 Restoration
SILT Studio

Raw.objPioneers in Ceramics
Prinsenhof Delft Museum
Single fired and raw glazed earthenware, various sizes, 2023.

The project adapts on 3D printed earthenware vessels the ancient single firing technique, which consists on obtaining a sintered and glazed ceramic object with only one instead of two or three firings. The process drastically reduces the energetic impact of the manufacturing process.
Raw.obj combines the traditional knowledge of the craft, as the technique requires a set of technical skills and practice, with digital making. It pushes the technique to its limits by raw glazing thin 3d printed clay walls aiming at showing the applicability and functionality of the process.
Single firing was supplented by bisque firing before Modernism  to make reliable replicas whilst in need of mass production. Bisque ware is less fragile, can be moved within distant facilities with less loss and it can be more easily glazed by untrained workers.
The project invites to reflect and question standardied manufacturing processes. The single firing technique, among others, manifests the importance of keeping alive the know-how, with a particular propension for art and collectable design. The raw glazing represents an important aspect to reflect on, looking ahead in time, for the ceramic industry to cherish within a growing environmentally sensitive path.
In occasion of the exhibition “Pioneers in Ceramics”, curated by Esther van Der Hoorn and Esther Munoz Grootveld for the Museum Prinsenhof in Delft (NL), the 3d printes Maas river clay is enriched by a baby blue underglaze made with 1% Cobalt Oxide in honour to the “Delft Blue”.

In Presence of Your Absence
  • ADI Design Museum
  • Lamp, porcelain, glaze
  • made of treated asbestos,
  • steel beam, LED, perspex
  • tube. 33x33x20 cm.

In Presence of Your Absence is a lamp-assemblage, composed by a translucent porcelain diffuser and upcycled architectural parts. It invites to look through the core of the project: a ceramic glaze made by treated asbestos.
The design promotes circular modes of production while supporting the research to counter the issues related to asbestos. The asbestos-cement, composing the 70% of the glaze, becomes inert through a low-temperature treatment, which in turn reuses local chemical waste. The patented process is the result of a collaboration with the research center Asbetter Holding (Rotterdam, NL), focusing on reducing the toxic impact of asbestos fibres.
The project was shown at the ADI Design Museum (Milan, IT) in occasion of the echibition “Italy: A new collective landscape”, curated by Angela Rui, Elisabetta Donati de Conti, e Matilde Losi, as an example of regenerative design.

Conversing with Matter

Gijs Bakker Award Nominee 2021
Realised in collaboration with sunday morning EKWC, Wetering, and Asbeter Holding.
Graduation project for Design Academy Eindhoven

The relative abundance of clay on earth overshadows its finite nature and the damages caused by its extraction. Starting from the conversation with the clay on the potter’s wheel and along the making process, the material research Conversing with Matter on the one hand explores the economic, social, and technical aspects entangled around the mining and the making. On the other, it proposes an alternative journey to making while minimising the countereffects of the extraction.
       The research starts by investigating the reclamation of clay from the local sludge of the river Maas. The employment of river clay has multiple sustainability aims. A gradual harvesting method allows the riverbanks to clean and regenerate, keeps local colours, textures, and properties while promoting a refamiliarisation with regional river bodies. River clay urges to care for what goes dispersed into urban waters as clay absorbs and tracks the chemical contamination encompassing it. 
       The marbling with a common studio clay, a white stoneware from Germany, allowed for an easier application of the wild clay body, otherwise uneasy to manage. The conversations between and with these two clay bodies on the potter’s wheel materialise in an archive made of pots inspired by Jacoba jugs. Mirroring the nature of the two clays, Jacobas were traded from Germany, the origin of the stoneware, to the Netherlands, where the river clay came from. Due to shipwrecks, many Jacobas still lay down in the river bed. The inspiration from the archaeologic findings was thought as a way to tell the stories of the materials and highlight their geographial origins while crafting a shape to archive the process. Potters say that to start understanding the clay on the potter’s wheel it is needed to throw at least one hundred pots. Hence, one hundred samples of conversations were led.
        By collaborating with a local research centre treating asbestos-cement and turning it in safe silica, the second part of the research explores the application of the by-prodcuct of the treatment of asbestos as a filler in the clay. This uncommon grog, thought of as such for the first time, strenghens the body of the clay while reducing the quantity of material needed. It in fact can substitute the 50% of the amount of clay needed. The material exploration was materialised in a set of 450 wall tiles, configuring the architectural and insulating possibilities of the composition while in dialogue with the uses of asbestos in the past.

FU Review Berlin N11
    Designed and developed 
    with Eleonora Toniolo
        Editorial design: Benedetta
        Pompili, Eleonora Toniolo
        Printed in Berlin on 
        printed FSC paper, 2023.

      STILL is the eleventh issue of the independent literary journal FU Review Berlin (DE). As with each issue of the journal, a main theme, stillness, represents the core of inspiration for the selected artists. "Remember that STILL is not always quiet. Find STILL in the way the narrator seems to catch his breath. Look for STILL in the vastness of the landscape, the unspoken words, and in the way the language seems to slow down time. Find STILL even in the continuity of chaos, unnoticeable only because it takes up the entire room."
              In this issue, the digital artworks of Tabitha Swanson accompany the poetries and proses of Aya Al-Telmissany, Christian Beltran, Gamze S. Saymaz, Kitty Doherty, and Moses Hubbard.
              The editorial design of the journal has been curated by Eleonora Toniolo and Benedetta Pompili, with the help of the editors in chief, since 2019. The design was thought to smoothen out the readers’ experience of the journal, that had been abruptly changed multiple times in the previous issues. The typographic choices and the grid are designed for a pleasurable and airy reading with a sensitivity to detail. Each issue is unique, as the design is lightly adapted to the temporary main theme and the practice of the visual artist, changing as well for each edition.
      ⠀⠀⠀Special thanks goes to the JFKI Alumni Association, whose generous support made this publication possible.

      Sea SiltMaterial and digital production for Studio Humade
      Ceramics made of regional sludge, 2021, The Netherlands.

        Sea Silt is a material  research and ceramic product developed by the Dutch design studio Humade. The designers,  renown for their kintsugi repair kit, extended their environmental research on local clay bodies. In particular, Sea Silt applies to make ceramics a sludge originating from Groningen, otherwise applied to build dikes. Containing sault and shrinking like porcelain, the material represented a chalenging material research for Humade. After two years of development, their Sea Silt collection of tile is now tested for production at Tikelaar Makkum (NL).
                Benedetta Pompili, selected by Humade and the Stimuleringsfonds “Building Talent” commission, assisted Gieke and Lotte for developing the publication, new tiles and vases, as well as helping the digital and material production for their solo show at the Princessehod National Ceramic Museum in Leeuwarden (2022).

        FU Review Berlin N10 Restoration
              Visuals: J.M. Lemohang
              Printed on FSC paper, Berlin, 2023.

            FU Review N10 Restoration contains a selection of Audrey Lorde's touching letters and poetries from the University Archive of the Freie Universitat Berlin. The publication hopes "to encourage others to explore and examine Lorde’s writings, correspondence, and lectures in future projects." It was our design choice to keep the scans of the original untouched.
                    The archival documents accompany new writings from Eric Abalajon, Indie Laras Bacas, Victor F. Breidenbach, Onyedikachi Chinedu, Iva Damjanovski, Taiwo Hassan, Shalom Kasim, Yaa Konadu, Arbër Selmani, Charika Swanepoel, Ilias Tsagas, and Allison Whittenberg. 
                    The editorial design of the journal has been curated by Eleonora Toniolo and Benedetta Pompili, with the help of the editors in chief, since 2019. The design was thought to smoothen out the readers’ experience of the journal, that had been abruptly changed multiple times in the previous issues. The typographic choices and the grid are designed for a pleasurable and airy reading with a sensitivity to detail. Each issue is unique, as the design is lightly adapted to the temporary main theme and the practice of the visual artist, changing as well for each edition.
                    Special thanks goes to the JFKI Alumni Association, whose generous support made this publication possible.

            • EDIT Naples, 2023.
            Single fired and glazed earthenware, various sizes.

            • As part of the Young Dutch Titans, a selection of seven designers based in The Netherlands, BC-99 was on show during the design fair EDIT
            • Napoli in occasion of the 2023 edition, curated by Domitilla Dardi and Emilia Petruccelli.
            The project consists of a set of vessels representing the studio, including single fired and 3D printed pieces from the project Raw.obj, as well as river clay with chamotte made of treated asbestos from the material research Conversing with Matter.

            Design IdentityDeveloped with Eleonora Toniolo
            Landscape Architecture Studio SILT (Ferrara, IT)


            Ars Vivendi (DE)
            Powder coated steel and FSC red oak wood, 2018.

            In opposition to Franco Albini’s Cicognino referring to a stork, a well-represented animal in the Western culture, Crù alludes to a crow. It playfully flips the superstitions around this wild animal by normalising it in the domestic space as a servomuto.
            Made with the collaboration of Ars Vivendi, German institution that gives work to people affected by Down Syndrome and developed with the help of the Peter Behrens School of Architecture & Design in Düsselforf, DE.