When and how the company was founded?
The company was founded in 1957 by my father, Ermini Adone, as a small artisan workshop. Drawing on the experience he gained while working at a workshop in Florence, we began manufacturing aluminum window and door frames. Over time, the company enlarged its production scope, becoming a trusted name in the Valdarno region during the 1960s.
When did aluminum windows and doors start to become popular?
Aluminum windows and doors gained popularity during the economic boom of the 1960s, when large-scale construction of buildings, condominiums, and entrance doors took off. At that time, we began producing frames and windows featuring gold- and silver-colored aluminum profiles, establishing ourselves as a key player in the area. While continuing to serve the civil construction sector, we later expanded into staircases and interior furnishings, marking an important evolution for our company.
You were orphaned at a young age. What impact did that have on the company?
Yes, my father passed away when I was just 11 years old. Fortunately, my uncle Paolo—my father’s brother-in-law—was already involved in the company and played a pivotal role in guiding it forward. Under his leadership, we transitioned from purely artisanal production to a more industrial approach, moving from a small workshop to our first factory and eventually to our current facility. His vision and dedication not only ensured the company’s survival but also set the stage for its continued growth.
When did you stop working with aluminum window frames and focus solely on steel ones?
The decision to phase out aluminum window frames came in the 1990s, when we relocated from our old facility in Incisa to our current location in Reggello. The turning point came during a company dinner with a business that marketed aluminum window frame profiles. During the event, we learned that there were nearly a thousand manufacturers of aluminum window frames in Tuscany alone, making the market incredibly saturated. Realizing the need to differentiate ourselves, we made the strategic decision to specialize in niche products—brass and stainless steel frames—that demand advanced expertise and craftsmanship. Since then, we’ve focused on serving a specialized market, where our ability to deliver high-quality, custom solutions has set us apart.
How has the work process evolved with the advent of computers?
The evolution has been significant. When I first started working after graduating, we primarily used a drafting machine for drawings. For more complex projects, we would sketch designs directly in the workshop and build piece by piece.
So from the very beginning, did you have an in-house design office?
Yes, the design office existed even in my father’s time. He had a strong vision for design and innovation. For instance, in 1968, he was the first in the area to purchase a hydraulic sheet metal bending press, making him a pioneer. Some of the region’s major truck body shops would come to him for their work because he had this advanced machinery. Even though he was self-taught, he had an innate understanding of technical drawing.
Nowadays, does the drawing process take up a significant portion of the work?
Absolutely. With the advent of 3D modeling, drawings are now detailed down to the finest elements. The design process is the foundation of the project—when a design is well thought out and meticulously planned, it makes fabrication in the workshop much easier.
I noticed that you refine technical details and make adjustments as you go.
Yes, designers often focus on aesthetics and may not fully consider the technical aspects. We step in at this stage to provide support and expertise. It’s easy to assume that a structure will stand on its own, but in reality, you need to assess materials, assembly methods, and construction feasibility carefully.
Your company is known for quality and attention to detail. What sets you apart from others?
Since my father’s time, and later with my uncle Paolo, we have built strong relationships with designers, offering them support and guidance. This has allowed us to develop a unique expertise that goes beyond traditional blacksmithing. We approach projects with an eye for aesthetics from the very beginning, which designers greatly appreciate.
So a key strength of your company is the ability to collaborate with designers and challenge assumptions?
Yes, I believe that’s one of our defining characteristics—along with our commitment to quality, which is fundamental. Another crucial aspect is punctuality. We handle many projects, including international ones, and meeting deadlines is essential. We’ve adapted to this requirement, making timely delivery a core priority.
How do you perceive competition? Do you see it as a challenge or an opportunity for growth?
We maintain good relationships with competitors. In many cases, we collaborate rather than compete. Different companies have different capabilities and machinery, so sometimes we rely on each other. Even within our local area, what might seem like competitors often turn out to be partners. Healthy competition pushes us to improve, but we’ve all carved out our own niche, which reduces direct rivalry. For instance, some companies specialize in high-speed, industrial-scale production, while we excel in custom, one-of-a-kind pieces. Sometimes, they even come to us for assistance on non-standard projects.
Your work spans different scales—from large architectural projects to fashion accessories. What connects these different dimensions?
Our versatility and ability to tackle any challenge. We rarely, if ever, turn down a project. We may discuss feasibility or propose modifications, but we always find a way to make things work. Every project excites us and fuels our passion.
The machinery required for architectural works and accessories must be quite different.
Yes, but we can’t have specialized machines for every single process. Instead, we rely on essential equipment like benders, lasers, laser welders, lathes, milling machines, and CNC machines. These are primarily used for prototyping, as we rarely engage in large-scale mass production. When we do receive requests for high-volume production, we prototype the product in-house, test it, and then collaborate with a manufacturing partner to produce it in quantity. This means we also handle the engineering of the product.
So a key part of your work is figuring out the best production method.
Exactly. We also consider installation requirements from the start. Many of our clients need to assemble our work in stores or buildings abroad, so we design with ease of assembly in mind. This is highly valued by our clients.
So installation is part of the design process?
Yes, absolutely. We plan everything, from the size of the components to how they will be packed and shipped. Every detail matters.
Does installation influence design and construction?
Definitely. Take a staircase, for example—it must be transported, fit through doorways, and be manageable in weight. These factors must be considered from the beginning, rather than adjusting after fabrication.
For Signorini’s artwork The Flying Horses , installation must have played a major role.
Yes, careful planning was essential. The artist wanted the horses to be supported only by their front legs, with the hind legs and tail in the air. The feet had a very small contact area, and the bronze alone would not have supported the weight. So, we created an internal stainless steel structure with high-strength mechanical properties, anchoring it to a base that distributes the load.
Have you ever faced a project that initially seemed daunting?
Many! For example, the metal structures for the doors of the Florence Baptistery. We designed and built stainless steel frames with high-precision bearings. We also oversaw the transport of the original doors to the Opificio delle Pietre Dure for restoration and their return to the Opera del Duomo Museum. Another major challenge was the Last Supper by Vasari in Santa Croce, where we developed a mechanical lifting system to protect the artwork from potential floods.
So the logistics of assembling projects in different locations greatly impact design.
Absolutely, and that places us in a unique market niche with fewer direct competitors. Unlike mass production companies, we remain involved from design to final assembly, ensuring seamless execution.
