Michael Polisano is a British industrial designer and Studio Designer at PLP Architecture, based in London. Since joining PLP in 2020, he has led the expansion of their Industrial Design division, working closely with PLP Labs to integrate cutting-edge technologies into architectural practice. His projects range from AI-powered ceiling systems and outdoor furniture collections—such as the recycled-plastic pieces designed for Yandex’s Moscow headquarters—to pioneering research into mycelium as a sustainable construction material.
Educated at the Rhode Island School of Design (BFA in Industrial Design), Polisano began his career in New York with Pentagram and Karim Rashid before relocating to PLP’s London studio. His work emphasises circularity and a symbiotic relationship between design and the environment. He co-presented “(Re)Joining Nature – Constructing the Architectural Symbiocene” at NXT BLD, highlighting PLP’s research-led design ethos and their use of timber, bio-composites, and fungal biotech across typologies from skyscrapers to installations.
Michael Polisano’s contributions exemplify PLP Architecture’s interdisciplinary and sustainability-oriented approach, leveraging innovation to redefine how design responds to the challenges of the built environment.
What inspires you?
I’ve always believed it’s important to surround yourself with people who inspire you and drive you to be better creatively, pushing you to go further. My friends and colleagues do that every day, inspiring me with the creative work they pursue and keeping me motivated.
What inspired you to become a designer?
Design has always played a significant role in my life. My father is an architect and my mother an artist, so I grew up surrounded by creativity. Originally, I thought I would become an architect, but I made a rather last-minute decision to study Industrial Design instead.
That choice led me on a diverse journey through graphic design, product design, packaging design, and now—perhaps coming full circle—interiors and architecture at PLP. That multidisciplinary background has given me a unique appreciation for design at every scale.
How would you describe your design philosophy?
I believe that as architects and designers, we have a responsibility to consider the environmental impact of the materials we choose — not just in terms of how they look or perform, but how they contribute to long-term sustainability.
Circularity and sustainability are central to our ethos at PLP, and they really shape our design philosophy. We approach every brief with that mindset, always looking for ways to reduce energy use, explore innovative materials with a lower carbon footprint, and rethink waste — tracking it, redefining it where possible for reuse — all while exploring new building techniques that support this way of thinking.
What is your favourite project?
I’d say our recent competition win — the National Meteorological Centre in Daejeon, Korea — is definitely a current favourite. It represents a bold step forward in sustainable design, aiming for net-zero emissions through a mix of innovative active and passive strategies.
The scheme includes passive shading, earth ducts, ground source heat pumps, and photovoltaic panels to dramatically cut operational carbon. We’re also using cross-laminated timber (CLT), which not only reduces the building’s embodied carbon but also reinforces our commitment to sustainable materials.
What is your favourite architectural detail?
I’d say I particularly enjoy the CLT detailing on NMC (National Meteorological Centre). Cross-laminated timber beams interlock to form the primary horizontal structure, supporting hollow CLT slabs containing all mechanical services and lighting. These beams then meet cruciform steel columns built from 4-angle pieces and a central steel member. This construction allows for a steel plate to be inserted between the angled pieces, which is then slotted between the notched CLT beams and bolted through to form a robust connection.
From the exterior, the façade features aluminium louvres to reduce solar gain, while the PV panels above are elevated beyond the roofline, supported by a steel grid that gives the impression they are floating in space.
Do you have a favourite material?
Anything biobased or low in carbon intensity. At PLP Labs — our in-house research think tank — we’re always exploring innovative materials, and recently we’ve been looking closely at mycelium. It has some incredible properties: a great strength-to-weight ratio, sequesters carbon, offers good acoustics, and is naturally fire retardant. We’re now exploring how to turn it into usable products, and PLP Labs gives us the space to do that kind of work.
Another favourite is the terrazzo we created for our own office fit-out — used in our kitchen worktops and made entirely from our own waste. We partnered with Solus Ceramics to repurpose samples from past projects, along with terracotta, granite, Portland stone, and even bits of aluminium extrusion. It reused material that would have otherwise been waste and celebrates our legacy by embedding our history in the stone.
For me, using bio-based and low-carbon materials is about more than sustainability — it’s about rethinking our relationship with nature and design. It’s a mindset I believe is essential to the future of architecture and design.
What is your process for starting a new project?
At PLP, when we start a new project, our process begins with a deep understanding of the brief, context, and parameters. We approach every brief uniquely, which always leads to a bespoke outcome. That’s something we really pride ourselves on — truly getting to know our client’s needs so the result is never formulaic. Our buildings respond in a bespoke way, so no two projects are the same. At our core, our mission is grounded in research, strategy, and design.
How do you fuel your creativity?
Each project brings a new set of challenges, and that in itself is a huge source of creative energy. No two briefs are ever the same — different clients, contexts, constraints, and ambitions — and that constant variety keeps things fresh. I find creativity is often sparked in the problem-solving process: when you’re pushed to think differently, adapt, and invent.
Collaboration is also a big part of it for me. I love working closely with others — sharing ideas, learning from different perspectives, and building on each other’s thinking. Some of the most exciting moments come from that collective process, where ideas evolve in ways they never would on your own.
What inspired the office fit-out?
Our new studio was driven by a desire to reposition our brand. PLP Architecture was ready for a fresh start, and we wanted the new studio to embody the evolution and ethos of our brand. This was the perfect opportunity to make circularity our guiding principle throughout the fit-out.
Traditional office moves can be hugely wasteful — furniture discarded, materials thrown away, spaces stripped back. We chose a different path, focusing on minimising waste, maximising reuse, and lowering our carbon footprint. Our new studio embodies our philosophy of designing workspaces that prioritise wellbeing, productivity, and sustainability, all achieved through a circular fit-out that made no compromises.
How did materiality shape the office fit-out?
Materiality was a key driver of our office fit-out, closely tied to creating a welcoming workspace. We focused on natural materials — especially timber — to bring warmth and tactility, moving away from the often cold and impersonal feel typical of corporate environments. This helped us create a space that feels inviting and promotes creativity.
Reuse was also central to our material approach. Rather than discarding existing elements, we embraced circularity by carefully retaining and upscaling key pieces of furniture, giving them new life and meaning within the studio. This approach directly linked materiality with sustainability, allowing us to preserve the character and history embedded in these objects while reinforcing our design ethos.
Overall, the material choices reflect a balance between environmental responsibility, a welcoming atmosphere, and storytelling — making the fit-out a true reflection of who we are and what we value.
Reflecting on your career, which project presented the greatest challenges?
Personally, it would be our office fit-out for the new PLP HQ. The biggest challenge was redefining what we traditionally consider waste. By focusing on this from the very start, what initially seemed like a huge obstacle quickly became an opportunity. Shifting our mindset opened up creative possibilities we hadn’t explored before.
Thanks to Maconda, one of our many partners on the project, we were able to accurately track every single item we reused, recycled, sold, or donated — always aiming to keep as much as possible within the circular loop.
Where do you see the future of global architecture heading?
Ultimately, I hope global architecture becomes more responsible, adaptable, and regenerative — driven by a deep commitment to both the environment and the communities we serve. At PLP Architecture, we’re excited to be part of this transformation, pushing the boundaries of what architecture and design can achieve for generations to come.
What advice would you give to young architects?
Be curious and don’t be afraid to try new things across different design mediums. Whether it’s graphic design, product design, interiors, or architecture, each discipline is unique but also interconnected. Exploring them all is not only fun but also enriches your understanding of design as a whole.
My other key piece of advice is to embrace new ways of thinking. Understanding how to integrate innovative materials and technologies into your work will set you apart and help build a more resilient and responsible environment. The projects of tomorrow will demand architects who think sustainably, experiment boldly, and approach design with innovation and environmental stewardship at the core.
A real credit to his Father.