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October 2022 Year 33 no 10 € 4.50

The international design magazine on interiors and trends lifestyle architecture and art

DESIGNER LANDSCAPES IN MILAN, PARIS, SYDNEY Designer pieces, unexpected materials and flashes of colour define the latest metropolitan interiors COMFORT ZONE In New Zealand, a lodge surrounded by nature TRENDS The moon inspires projects by creatives GREEN An urban jungle in the heart of Bergamo

DESIGNER LANDSCAPE

Hearst Magazines Italia S.p.A. Via R. Bracco 6, 20159 Milan – Ph. 02 6619 1

Editor-in-Chief

Livia Peraldo Matton lperaldo@hearst.it Managing Editor Filippo Romeo — fromeo@hearst.it Art director Valeria Settembre — vsettembre@hearst.it Editorial staff Francesca Benedetto (interiors, lifestyle, travel) — fbenedetto@hearst.it Tamara Bianchini (styling, decoration, product) — tbianchini@hearst.it Murielle Bortolotto (styling, decoration, product) — mbortolotto@hearst.it Paola Carimati (news, design, research) — pcarimati@hearst.it Graphic designers Elena Santangelo (senior editor) — esantangelo@hearst.it Carlo D'Amico (layout) — cdamico@hearst.it Photo editor Cinzia Rossi — cinzia.rossi@hearst.it Assistants Roberta Salvioni (editing, production) — rsalvioni@hearst.it Contributors Piera Belloni, Porzia Bergamasco, Marta Lavinia Carboni, Ana Cardinale, Mariapia Coppin, Contextus/We Translate Design, Chiara Dal Canto/Living Inside, Germano D'Acquisto, Flavia Giorgi, Eleonora Grigoletto, Laura Maggi, Paola Maraone, Marzia Nicolini, Gaetano Zoccali Photographers Heleno Barbetta / Living Inside, Anuschka Blommers, Federico Cedrone, De Pasquali Maffini, Adrien Dirand, Andrea Ferrari, Felix Forest, Delfino Sisto Legnani, Takumi Ota, Simone Picchi / p&p photografia, Jonas Bjerre Poulsen, Niels Schumm, Simon Wilson Graphic design concept Designwork Digital Luca Lanzoni (Digital Fashion Director) — llanzoni@hearst.it elledecor.it Alessandro Valenti (Digital Director) — alessandro.valenti@contractor.hearst.it Carlotta Marelli (Digital Managing Editor) — cmarelli@hearst.ch Alessia Musillo (Content Editor) — alessia.musillo@hearst.ch Isabella Prisco (Junior Content Editor) — isabella.prisco@hearst.ch Management, Editing and Administration Via R. Bracco 6, 20159 Milan, ph. 02.6619.3375 — 02.6619.2774, fax 02.6619.3862 editorial desk email: afavaro@hearst.it — rsalvioni@hearst.it Editor-in-Chief Livia Peraldo Matton Publisher Hearst Magazines Italia S.p.A., Via R. Bracco 6, 20159 Milan Registration with the Court of Milan No. 46 on 18 January 1990 Elle Decoration Network 25 International Editions CHINA — CROATIA — DENMARK — FRANCE — GERMANY — GREECE HOLLAND — INDIA — INDONESIA — ITALY — JAPAN — KOREA MEXICO — MIDDLE EAST — PHILIPPINES — POLAND — RUSSIA SOUTH AFRICA — SPAIN — SWEDEN TAIWAN — THAILAND — TURKEY — UK — USA ELLE DECOR ITALIA ISSN 1120-4400 is published 10 times annually (except January and August)

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CLARIFICATIONS In the story ‘Botanical Manifesto‘, published in Elle Decor n.9/2022 on p. 59, the architectural project of the private villa in Lugano, at the opening of the story is by Corinna Cappa Maria Venco Architetti. Additionally, the author of the image on p. 64 (Lugano) is Corinna Cappa. We apologise to the readers and all interested parties.

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n. 10—2022

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89 146 NEWS+CULTURE 16 elledecor.it Digital contents of the magazine also on Facebook and Instagram 19 Password Interiors with a view: homes are defined by a new designer landscape 21 Likes Places, events, objects.

This month’s favourites 30 Crossing Mysterious and evocative, the moon is always a source of inspiration

86 People The cyber projects of architect Ippolito Pestellini Laparelli 89 Thinking Energy conservation at the heart of homes of today and tomorrow 123 Design sharing In Kastellorizo, the project for an artist residence 129 Green In Bergamo, at the 12th edition of ‘I Maestri del Paesaggio’ recounted by Cassian Schmidt 221 Nb October exhibitions, events and openings

DESIGN+ARCHITECTURE

STYLE+DECOR

55 Studio visit In Milan, guests of the ‘modular office unit’ by Guglielmo Poletti 65 Design icon/1 Bellini, Prouvé, Superstudio: the reissues seen at the last Salone 73 Design icon/2 Vilhelm Lauritzen’s furnishings are now in production 135 Design store Projects by a generation of architects experienced in floristry

41 Decor-Scouting Autumn news, exhibitions and places, trends and projects 115 Design&Craft In Studio Terre’s small artisan workshop: an open and protected space 172 Design Stories Relaxation corners and passepartout furniture: new ways of defining the domestic space

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Ottobre 190

65

160

Cover

201 Inside-Design Soft upholsteries, versatile designs and a metal touch 211 Design-Book New finishes, marble design and views

104 Food experience Äng, the restaurant designed by Norm Architects: a glasshouse among Sweden’s vineyards

TRAVEL+FOOD

146 In Milan With cultured references and pop influences, architect Luciano Giorgi reinvents a Milanese residence.

160 In Paris Visiting François Laffanour’s Gallery Home. Among art and designer pieces

80 Place to be In Rome, in a former warehouse, the new concept space

by Simone Menassè

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INTERIORS

180 In Sydney an Art Deco architecture with neutral colours, classic decor, art, and mid-century design 190 In New Zealand A lodge that camouflages itself to draw attention

New Wave story on page 146

by Francesca Benedetto photos

by Andrea Ferrari

elledecor.it Elle Decor Italia is also online with news, videos, photo galleries, features and live reports in real time

Back to Icons The 1960s, 1970s, 1980s and 1990s read through design, fashion, books, technology and lifestyle.

A feature article to retrace a history defined by creativity, invention and passion.

The international design magazine on interiors and trends lifestyle architecture and art

DESIGNER LANDSCAPES IN MILAN, PARIS, SYDNEY Designer pieces, unexpected materials and flashes of colour define the latest metropolitan interiors COMFORT ZONE In New Zealand, a lodge surrounded by nature TRENDS The moon inspires projects by creatives GREEN An urban jungle in the heart of Bergamo

DESIGNER LANDSCAPE

October 2022 Year 33 no 10 € 4.50

October 2022 Year 33 no 10 € 4.50

The international design magazine on interiors and trends lifestyle architecture and art

DESIGNER LANDSCAPES IN MILAN, PARIS, SYDNEY Designer pieces, unexpected materials and flashes of colour define the latest metropolitan interiors COMFORT ZONE In New Zealand, a lodge surrounded by nature TRENDS The moon inspires projects by creatives GREEN An urban jungle in the heart of Bergamo

DESIGNER LANDSCAPE

Digital edition Elle Decor Italia can also be browsed on tablet, smartphone and kindle fire devices.

Available on the App Store, Google Play and the Amazon App-shop.

Instagram In the Olgiata district, Rome, the restyling of a 1980s villa by studio MGK. A house with a view, over 2,000 metres above sea level, on the slopes of El Retiro, Colombia. In Normandy, a two-storey flat turned into a holiday home by Matali Crasset.

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PASSWORD

10.22 [Designer Landscape]

Architectures and interiors conceived as total projects in which each element acquires value by dialoguing with the other. From furnishings to artwork, from layout to decoration, everything contributes to define a unified whole. Just like in the composition of a painting; objects, partitions, surfaces and materials generate a domestic landscape with a unique character. In this issue, the focus is on renovations that rescue the existing by updating it: by absorbing the distinctive architectural features designed by a great master, or by reinterpreting the industrial personality of an abandoned building and to give it new life. All this takes place without any nostalgia for the past, but great respect for the innovative value of the project. A theme that is tackled on a large and small scale. Not only in the case of designer collectibles, but also through the phenomenon of re-editions, investigated in several of the magazine’s reports. The common thread is always the quality of the design. A quality reaching beyond the ages, endorsed by the interest of the public, seduced by the charm of a 1950s armchair now reintroduced as a special edition; who appreciates the disruptive nature of a piece of furniture first produced in the 1960s while thinking about the future. Or who chooses an iconic 1970s sofa revisited with new fabrics and sustainable materials, still very current.

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ELLE DECOR LIKES

[1] Hotel Chimera, designed by Elena Salmistraro for Florim, is the unique and limited-edition ceramic work of almost 20 square metres donated to support the project ‘Doppio Senso. Percorsi Tattili alla Collezione Peggy Guggenheim’ (Double Entendre. Tactile Paths at the Peggy Guggenheim Collection): the whole became a puzzle of 80 unique, hand-signed pieces by the designer, which sold out in a solidarity click. florim.com

The Peggy Guggenheim’s tactile catalogue: an inclusive project

Photo © Vanni Borghi

by Paola Carimati

‘Doppio Senso. Percorsi Tattili alla Collezione Peggy Guggenheim’ (Double Entendre.

Tactile Paths at the Peggy Guggenheim Collection), is the ‘tactile visit’ project presented by the American foundation at Palazzo Venier dei Leoni, in Venice, for the 30th anniversary of Guggenheim Itrapresæ. It is a truly experimental operation, driven by the desire of the entire museum team, suitably educated and trained, to promote the museum’ social role: the concept, in fact, stems from the sensitivity of offering sighted, visually impaired and blind people equal access to culture. In collaboration with the Istituto dei Ciechi di Milano and Florim — which contributed by donating the proceeds from the sale of the Hotel Chimera puzzle by Elena Salmistraro (80 unique, hand-signed pieces by the designer) — the Guggenheim created thermoformed and resin relief reproductions of 10 author’s canvases from the collection, each complete with descriptive panels written in Braille and very clear characters. Guided by the voice of Valeria Bottalico, the creator and curator of the itinerary, all visitors, including children, are accompanied on a tour that has been turned into a completely autonomous exploration. The experience of contemplation then moves from the canvas to sculpture, thanks to the contribution of the blind artist Felice Tagliaferri, who with his ceramic workshop teaches how to relate the (touched) detail to its whole. — 21

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ELLE DECOR LIKES

Photo © Patrick Tourneboeuf/ RMN_GP/ Tendance Floue

[2] The Grand Palais Éphémère’s impressive exterior view of the Champ-de-Mars and the Eiffel Tower. The 10,000 square metre temporary exhibition pavilion designed by architect Jean-Michel Wilmotte will host Paris+ par Art Basel until 2024. parisplus.artbasel.com

The international fair, Art Basel, moves to Paris. Under the Eiffel Tower

by Germano D’Acquisto

It is one of the most eagerly awaited events of the year. Art Basel, the world’s most prestigious modern and contemporary art fair, lands on the banks of the Seine.

And it does so with all the honours. It will be called Paris+ par Art Basel, and from 20 to 23 October it will inhabit the spaces of the Grand Palais Éphémère, before moving in 2024 to the Grand Palais, which has undergone an intense revamp in recent months. In the spaces of the temporary exhibition pavilion, designed by Jean-Michel Wilmotte right in front of the Eiffel Tower, the crème de la crème of international galleries will parade: 156 in all, chosen from over 700 candidates (140 in the Main sector and 16 in the Émergentes section), coming from around thirty countries. But that’s not all. The Parisian event, directed

by Clément Delépine, will go beyond the borders of Champ-de-Mars and extend to various urban areas: from the Jardin des Tuileries, where 25 open-air installations will be exhibited (including those by the Argentinean abstract sculptor, Alicia Penalba, not to be missed) to Place Vendôme; from the Centre Pompidou, which will host the eagerly anticipated retrospective of the American figurative painter Alice Neel, ‘Un regard engagé’, to the Chapelle des Petits-Augustins des Beaux-Arts de Paris. In short, if in Basel the public arrives almost exclusively for the fair, in Paris the opportunities are endless. — 23

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ELLE DECOR LIKES

[3] Mario Cucinella redesigns the Milan headquarters of the Rovati Foundation

Photo Giovanni De Sandre

by Piera Belloni

This cultural institution is at the once private and open to sharing and dialogue: the Rovati Foundation has inaugurated its headquarters, complete with a museum, in a 19th-century building in Milan. Restoration, extension and redevelopment were entrusted to the MCA Mario Cucinella Architects studio, which built two underground floors — one for exhibitions and the other for researchers, where the Foundation’s Study Collection is located — and renovated the three above-ground floors. On the street level are the bookshop, the indoor garden and Andrea Aprea’s bistro café. The tour begins at the entrance, where a Pietra serena staircase leads to the hypogeum devoted to the Etruscan works: it is an evocative, semi-dark environment consisting of three circular rooms and one elliptical space with domed ceilings, completely enveloped by ashlars, also made of Pietra serena.

The ancient artefacts, showcased in thematic areas, are combined with modern and contemporary artworks so as to establish a dialogue that continues on the main floor.

In these carefully restored rooms, archaeology interacts with works by Warhol, Paolini and Simeti, among others. There is also the ‘Spazio Bianco’ (White Space) for temporary exhibitions, currently hosting works by Sabrina Mezzaqui, until 27/11. The second level houses study rooms and the third the Michelin-starred chef’s restaurant. —

In the underground floor of the Rovati Foundation, exhibition rooms with domed ceilings are wrapped in Pietra serena ashlars. Here is housed the permanent exhibition where important Etruscan finds interact with works by Picasso, Kentridge and Fontana. fondazioneluigirovati.org

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[4] Clear rooms with fluid shapes characterise the temporary shop that the French Maison Hermès has opened in Rome at Via Condotti 67/A. Designed by Studiopepe, it is devoted to accessories, small leather items, beauty products, and fragrances for men and women. hermes.com

Intimate, sensual luxury in the Studiopepe pop-up store

Photo Andrea Ferrari

by Flavia Giorgi

An ephemeral place to tell small stories of timeless elegance. That of simple and perfect objects that skilful craftsmen give us to enrich our daily lives. The pop-up store created by Hermès in the heart of Rome is devoted to accessories, small leather items and beauty products. An enveloping space expressing a concept of quiet luxury, which everyone can experience in a comfortable and intimate dimension. The interior design is by Arianna Lelli Mami and Chiara Di Pinto — founders of Milan-based Studiopepe — who chose natural and traditional Italian materials. In a fluid path through four rooms, the luminosity of marble powder plaster is reflected on continuous, round-shaped surfaces, while the desktops are covered in brick-coloured earthenware. The designers’ references to contemporary art are cultured: from Paolo Scheggi’s elliptical openings that have inspired the backlit niches carved into the walls, to the playful Fausto Melotti’ sculptures to be reinterpreted in the burnished brass tubes supporting the silks. The final surprise is the interactive infinity room, with videos recalling the world of fragrances diffused in the room. — 27

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ELLE DECOR LIKES

[5] Pictured, The Virtual Meeting Room, which offers interactive stations where one can interact with colleagues on the other side of the world.

‘New Visions of Work’ is the cornerstone of the 2002 edition of Orgatec, in Cologne from 25 to 29/10. orgatec.com

New visions of workspaces on stage in Cologne

Photo Alberto Strada

by Laura Maggi

A fixture for entrepreneurs, retailers and interior architects operating in the field of workspace design, Orgatec’s 2002 edition, ‘New Visions of Work’, opens its doors from 25 to 29 October. After the impact of the pandemic and the digital transformation have accelerated the disconnection of work from specific places and times, the spaces of the Cologne trade fair will showcase a new vision of the working dimension. Ideally, the office of tomorrow could be anywhere, and the future will see more and more flexible workers operating creatively and independently. In addition to the presence of around 600 international companies, Orgatec has devised a rich programme of events revolving around the themes of creativity, flexibility, efficiency, design and technological innovations. On schedule, also a series of guided tours of the fair conceived by architects and aimed at fellow designers, curated by prestigious architectural firms with a focus on themes such as hybrid work, green office and design, to provide an overview of the main solutions and concepts on stage. Elle Decor Italia, which has always been attentive to the evolution of workspaces and their future — think of ‘Elle Decor at Work. The Evolution of Workspace’, an exhibition set up on the occasion of the Salone del Mobile 2019 — will also participate in the fair. — 29

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SYN Architects, Hometown Moon — A large glass and concrete semicircle towers over a body of water, generating the image of a full moon. The chapel was commissioned by Lushang Group to encourage visitors to explore the natural landscape around the city of Tai’an (China). synarchitects.com

Fly me to the moon Mysterious, evocative, a symbol of change par excellence.

The moon, the satellite that influences tides and moods, is a source of inspiration for architects, stylists and designers

by Marta Lavinia Carboni

CROSSING

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CROSSING

Olafur Eliasson, ‘Dark matter collective’ — The work consists of 217 silver and black glass spheres that vary in their colouring according to the observer’s point of view, changing into new or full moons at every step. The Icelandic-Danish artist is now on show at Palazzo Strozzi with ‘Olafur Eliasson: Nel tuo tempo’ (Olafur Eliasson: In Your Time), until 22/01/2023. olafureliasson.net

Studio Furthermore, Moon Rock — With their characteristic material language, London-based Marina Dragomirova & Iain Howlett create small pieces of furniture that look like fragments from lunar craters. Collectable, made entirely of 100% recycled aluminium from discarded car wheels. studiofurthermore.com

Valentino Couture, The Beginning — Pierpaolo Piccioli’s Roman fashion show held in the historic setting of Trinità dei Monti last July showcased Fall-Winter 2022-23 Haute Couture. Silver glitter faces and otherworldly dresses studded with crystals stood out on the catwalk. valentino.com

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Gucci, Cosmogonie — In the evocative setting of Castel del Monte in Andria (Bari), under a sky lit by the full May moon, Alessandro Michele’s show for the Spring-Summer 2023 collection was staged. The invitation to the fashion show included a drawing of the Moon’s phases and a certificate of ‘adoption’ of a star. gucci.com

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Photo Alamy

CROSSING

CROSSING

Kubo Tsushima Architects, Moon Phase — As part of the renovation project of a 13-room hotel, the Japanese studio inserts a lamp-installation in the wall, reproducing the shape and intensity of the Moon’s phases thanks to a dimming and swivelling system that can vary according to needs and moods. kbtsm.com

Giuseppe Lo Schiavo, ‘Metafisica’ (Metaphysics) — The NFT animation from which this frame is taken is set in a metaphysical, lunar-inspired place where a robot dog (the future of art and technology) witnesses the destruction of the past (the Greek statue of Diskophoros).

In the centre is the astronaut, symbol of man’s desire to explore. giuseppeloschiavo.com 36

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© Kubo Tsushima Architects

Lunara, Equitone — Inspired by the raw beauty of the Earth’s satellite, this cladding panel seems to come from another planet. Made of fibre cement and with an otherworldly appearance, no two panels are alike thanks to a special production process that creates random, unique surfaces. equitone.com

CROSSING

From the Venice Biennale to the mountains of China, the moon appears in architectural projects and even in dedicated apps

Fatoumata Kébé, ‘Il libro della luna’ (The Book of the Moon) — Brilliant and promising French astronomist and astrophysicist, Kébé (pictured) has a dream of being the first woman to set foot on the moon. In her book (edited by Blackie, 2021) she recounts the history, myths and legends associated with the Earth’s satellite. From the influence it has on the tides to the secrets of its formation, exploring the mysteries of the universe. blackie-editions.co.uk

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operation to promote more tourism in rural areas. “The brief called for a holistic approach to connect the mountain villages in the region”, explain the Berlin-based architects. “We chose to go back to the cradle of Confucianism, reconstructing the city-countryside relationship”. Hometown Moon therefore evokes a connection with nature, rediscovers ancient traditions and generates an economic and social renewal. From the artificial moon to the real one, with Google Moon (a satellite application of Google Earth) that, thanks to a few zooms, allows us to visualise the landing sites of the Apollo missions that took place between 1961 and 1972. With the ambitious Artemis space programme, NASA is trying again: the third launch attempt of the rocket (98 metres long) designed to propel the Orion capsule to the moon is scheduled for mid-October. The spacecraft will host the crews, only expected to be on board in 2025, ready to return to the satellite, thus inaugurating a new season of space missions. For those who remain on Earth, there is Moonly, an app to tune into the rhythms of the moon by harnessing its energy. This is how one learns to cut the hair on a crescent moon, to never sow on a new moon or bottle on a full moon, and to always light a white candle on full moon nights.

Ancient rituals that apparently still have a great influence on us, moon enthusiasts… or maybe lunatics. — © Laurence Geai

“The moon has always existed”, says Fatoumata Kébé in her ‘The Book of the Moon’ (Blackie Editions, 2021).

“It changes shape, colour, makes oceans rise, plants grow, fairies dance. It marks time, gives rhythm and direction to life”.

A symbol of change par excellence, this month it turns orange (the full moon is scheduled for 9/10) and, rising in a position closer to the horizon, looks even bigger. At this time of year, it is in the limelight, starting from the autumn equinox (from 23 September), with shorter and shorter days and more hours of darkness, waiting for the next spring, when the sun will be back.

Unique but double, because it always hides one of its faces, it is the Earth’s only satellite, powerful enough to influence the tides, our biological rhythms and today even creativity, by inspiring the design world once again. At the last Venice Biennale Architettura, the Americans from Studio SOM (Skidmore, Owings & Merrill) together with ESA (European Space Agency) and MIT (Massachusetts Institute of Technology) presented the Moon Village lunar settlement concept, displaying solar-powered housing modules designed to withstand extreme conditions.

The Moon was also the protagonist of Gucci’s SS 2023 fashion show: Alessandro Michele chose an evening of total eclipse to present the Cosmogonie collection, staging a sort of cathartic rite in the evocative setting of Castel del Monte in Andria (Bari).

Hiding instead in the remote area surrounding Mount Tai in China, the moon designed by Syn Architects, Hometown Moon, is a chapel for celebrations and events in the shape of a semicircle that, when reflected in the stretch of water below, generates the image of a full moon. Commissioned by Shandong Lushang Group, it is part of a larger territorial marketing

decor–scouting Autumn News/Exhibitions and Places/Trends and Projects

British vibes. Paul Smith imbues the new interior accessories line with his signature style. “The way you choose to decorate your home is personal, just like when you select a garment to wear. With this collection, I have tried to design objects that brings a little colour and joy”.

Reversible wool or cashmere blankets, but also cushions and towels featuring the timeless stripes so loved by the creative. paulsmith.com

by Murielle Bortolotto 41

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DECORSCOUTING

Magic mirror on the wall.

Designed by Monica Armani for Turri, Roma has a frame made of monochrome glossy lacquered wood and a bronzed finish. Diameter 130 cm. turri.it

Natalia Triantafylli, Greek but based in London, she combines physical and digital dimensions. Hence, his design idea that takes the form of hybrid objects consisting of handmade ceramics with 3D printed details.

Pictured, the Hydra vase. On Instagram: @nataliatriantafylli

A wave-like movement for the Infinity console

by Cesare Arosio for Laura Meroni. The base is curved, with a geometric honeycomb pattern, dynamically contrasting with the smooth-surfaced top. The lacquered wood structure measures 108x40x80h cm. Savoir-faire and refined design give life to an eclectic and elegant project. laurameroni.com

Zen break. We are in Tokyo, at the Jugetsudo Tsukiji Main Store, a shop devoted to the tea rite designed by starchitect Kengo Kuma. In this place, the hero is the bamboo plant, which with its flexible properties becomes a vibrant material. Inside and out, it creates unusual layouts, dividing spaces or becoming a decorative element. kkaa.co.jp

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DECORSCOUTING

Red-light design. The colour of energy and love is the new trend of the season. On iconic lamps and brand-new furniture

[1]

1. New fiery red shade for the tenth anniversary of Counterbalance, lamp by Daniel Rybakken for Luceplan. luceplan.com 2. Tizio by Richard Sapper for Artemide turns fifty and the company celebrates it with the favourite shade of its legendary creator.

Integrated LED light source. artemide.com 3. Andrea Parisio’s monumental table for Meridiani is called Italo. Pictured in the red lacquer finish. meridiani.it 4. Originally available only in anthracite, today Luminator, designed in 1954 by the Castiglioni brothers for Flos, can be chosen in four other colours, including the red variant. flos.com 5. Irregular shape for the Gap rug designed by àr-o studio for Karpeta. Soft and handmade. karpeta.com 6. G.O. floor or table lamp, re-edition of the 1960s designer piece by Giuseppe Ostuni for Oluce. Available in scarlet red, black and anodic bronze. oluce.com

[2] [3]

[4]

[5]

[6]

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Dean and Dan Caten, creative directors of the fashion brand Dsquared2, are the authors of the wallpaper collection of the same name, for Londonart. Refined hues and patterns as in the Cement Horizon wallpaper, pictured, available in four colour variants. londonart.co.uk

An ode to beauty. After two years of restyling by architects Sophie Thuillier and Cristiano Benzoni of Rev Studio, the Maison de Beauté Carita reopens at 11 Faubourg Saint Honoré, Paris. A special place where to spend moments of relaxation among tailored facial and body treatments. Dreaming, a bit for fun, of being like Catherine Deneuve, Brigitte Bardot and Sophia Loren, some of the Maison’s famous clients. carita.com

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Photo courtesy Carita

Home Totem A minimalist design defines the Line wall bookcase by Busetti for Calligaris. With a metal structure and shelves that can be freely positioned to hold complements and heart books of different sizes. Measuring 30x30x180h cm, available in three colours: black, bronze and optical white in a matte finish. calligaris.com

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Temporary store. While waiting for work on the new venue to be completed, the Bulgari boutique in Milan is moving to Via Gesù 4, to open its doors to the public in mid-October. Spread on an area of approximately 227 square metres devoted to sales, the shop is designed according to the concept of architect Peter Marino who, with bold combinations of colours and materials, conveys the brand’s DNA and core values. Refined details, from the marble floors to the satin-finished brass surfaces and the coloured carpets and mirrored walls, mark the rooms. Natural light makes the place bright and welcoming thanks to the large windows, distinguished by saffron-coloured sunshades (the brand’s favourite hue). Crossing the threshold, visitors will be surrounded by the glittering Medium and High Jewellery Bulgari collections, iconic pieces and a wide range of precious accessories. The furnishings also make the store special: chairs by Ico Parisi, tables by Mangiarotti, lamps by Castiglioni and armchairs by Mendini. Nose up to look at the majestic chandelier by Gio Ponti. bulgari.com

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DECORSCOUTING

Photo Philip Messmann

Donald Judd and John McCracken (both American artists) are the source of inspiration for The Shaker system, a project by fashion designer Raf Simons with Danish fabric brand Kvadrat. The concept is simple, characterised by a long horizontal plank to which a series of accessories made of Vidar fabric are ‘hooked’. The 26 pieces that make up the collection, available in four colour variants, ‘parade’ on the coloured plank: key rings, bags and trays, cushions and throws… kvadrat.dk

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Made of woven fabric, with a shiny metal buckle, the hyper-feminine Viv’ Choc bag by Roger Vivier. A new cult item from the French maison that can also be used as a clutch bag by removing the leather shoulder strap. rogervivier.com

Versatile and suitable for any environment, the Sabino series of tables by Riflessi. The essence of the design is the central metal base available in different finishes and colours: Cobalt, brass finish and titanium, as well as Reflect Blu, Rose Gold and Black coloured mirror steel.

The round or square top is fixed or extendable. riflessi.it 52

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Photo Margherita Cecchini

Cento % Dino. This is the name of the scattered exhibition that pays tribute to the revolutionary entrepreneur Dino Gavina in the centenary of his birth. From an idea of Paradiso Terrestre with the municipality of Bologna, until 27/11, in three different venues where visitors can admire objects, photos and furnishings: Sala d’Ercole, Palazzo d’Accursio (piazza Maggiore 6); Galleria Paradisoterrestre (via de’ Musei 4); former Gavina shop (via Altabella 23). A choral narration of the values of the ‘tamer of designers’, as the insiders used to call him in a friendly way. And yet, he was ‘the most emotional and impulsive of all furniture makers in the world’, according to the author of the famous Cesca chair, Marcel Breuer. paradisoterrestre.it

STUDIO VISIT

The Rope Walker In Guglielmo Poletti’s offices: an ethereal space suspended between poetics and experimentation. Where getting back to the essence of the project is king

by Paola Carimati — photos by Delfino Sisto Legnani

Born in 1987, Guglielmo Poletti left Eindhoven to return to Milan after graduating in Contextual Design. In 2019, buoyed by his professional successes, he devoted himself to designing his own studio and transformed a former construction workshop into a bright white box.

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STUDIO VISIT

The star of the studio is the birch plywood ‘modular office unit’ created by the Milanese designer in the joiner’s workshop of Giacomo Moor. Like a dashboard, on the ground floor it integrates bed, wardrobe and storage units with trolley, and supports a desk as well as a storage and meditation space.

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The wooden platform designed

by Guglielmo Poletti is creatively custom-made: from here the designer dominates the space to shape the world

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STUDIO VISIT

Above, a close-up of the mezzanine structure: the heroes are the black chairs designed by Maarten van Severen for Vitra and the Parentesi lamps by Achille Castiglioni and To-Tie by Guglielmo Poletti, both for Flos.

Below, the ‘modular office unit’ behind closed doors.

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The To-Tie lamp by Flos portrayed next to the bed and on the desk. “Each component has a dual purpose”, says the designer: “The cable carries electricity and is a tensioning element; the bar integrates the LED and acts as a handle; the cylinder holds the bar and diffuses light”.

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“Without reflecting properly on the structural aspect, for me, the project doesn’t exist”, more than a statement, there is the suspicion that this is a manifesto of intent from the young advocate of the international, creative nouvelle vague. In fact, a cursory glance, crossing the threshold of Guglielmo Poletti’s offices, does not betray his words: the interior has been studied down to the last millimetre, organised and as neat as a new pin. Outside there are the suburbs: we are in the Via Padova area, north of Milan, in that ‘extreme’ part of the city involved in far-sighted plans for urban and creative regeneration. Not surprisingly, not far away are the headquarters of Formafantasma and, just a stone’s throw from the joiner’s workshop of his friend Giacomo Moor. When in 2019 the designer decided to leave Eindhoven, in the Netherlands where he graduated, to return to Italy, he had no doubt about the type of space he intended to carve out: “Architecture and furnishings follow functions”, he explains as he guides us around the 170-square metre property. “At the Design Academy, I learned to combine more conceptual exploration of design with a more manual aspect.

So, I imagined dividing the floorplan into three areas: a first one, where I can collect ideas and bring thoughts together, a second, where I can create and prototype them, and a third where I can provide a home for them”. Thus, with the complicity of Covid and Pino, the prior owner of the former building materials warehouse, Guglielmo transformed an urban archaeological industrial building into a white, abstract and very light-filled container, inside which his lets the ‘modular office unit’ coast: a lightweight and resistant birch plywood structure that, designed in 3D and made by his friend Moor, fits perfectly along the short side of the building. “A bridge from where I coordinate all activities”, he says oozing the pride of those who have put their hands, head and heart into a job. “The module has been developed on two levels: below, next to the bedroom, the wardrobe with three storage elements and pull-out

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trolleys, above, the desk with bookcase and meditation platform”, strictly made of glass for filtering the light. Designing for Guglielmo Poletti is primarily all about linear thinking, combined with design rigour and an almost maniacal attention to detail. An obsession, the latter, that is not overlooked when changing scale but, on the contrary, is proudly amplified. In the Made in Italy system, from the start of his career, he has moved forward taking small, steady and decisive steps. From the collaboration with Desalto, strongly advocated by art director Gordon Guillaumier, to the most recent professional liaison with Flos, launched in full lockdown by Calvi Brambilla, design curator of the brand, without overlooking the support of gallery owner Rossana Orlandi, who was the first to promote his work: every random or planned encounter helped to forge his identity as a designer, edging him progressively away from art and towards the industrial, exploring the series process. “Credit goes to Louise Schouwenberg, Head of Department of the MA Contextual Design course at the Dutch school”, Poletti recalls, “who, recognising an already well-defined trait in my work, urged me to reflect on the ‘reasons’: what is the rationale behind the aesthetic aspect of your shapes?

So, I focused on the building part”. The leaner the process, the more it expresses the natural beauty of the material. His exploration revolves around millimetric considerations: sheets, multilayers and glass, which, put under a tensioning force, yield to creativity without becoming deformed. The choice of processing techniques — all precision processes — then completes the work. “Calendering, grinding and welding are the criteria that enable me to approach any type of product”, says the designer, who, from the Equilibrium stool, made of polyurethane rubber, to the To-Tie lamp, with bar, cable and acrylic diffuser, demonstrates the consistency of his language. “Nothing is arbitrary, everything has a rationale”.

Otherwise, it would not be his project. — 62

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Next to the close-up of the Section bench for the Seeds gallery, which reveals the complexity of working with a calendered, welded and polished Corten sheet metal, two other unmissable pieces

by Guglielmo Poletti: the Void console for Desalto and the Equilibrium seat for Rossana Orlandi.

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Do it again ‘Reissues’ are a growing phenomenon presenting itself in different ways and for different reasons.

We discuss three, which were seen at the latest Salone, designed by Bellini, Prouvé and Superstudio

by Porzia Bergamasco

Le Mura sofa system by Mario Bellini designed in 1972, recently reissued by Tacchini and presented with Kvadrat fabric upholstery at the Fuorisalone 2022 installation ‘Cinema Tacchini’, in Spazio Maiocchi, a project by Formafantasma.

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A chair designed 70 years ago is relevant again. With new finishes and textile coverings. When design is timeless

Fauteuil Kangourou, Jean Prouvé 1948, Vitra 2022 — “We always try to keep new products as close as possible to the originals.

Whether it’s the materials, the production processes, the colours, we want to stay true to Prouvé’s originality and philosophy”, says Christian Grosen, Chief Design Officer at Vitra. For over 20 years the Swiss company has been collaborating with Catherine, the daughter of French designer Jean Prouvé, to transform the designs in her father’s archive into new products, which were mostly created for specific projects that didn’t always end up as series for mass production, despite Prouvé having pioneered them. Such is the case for the Fauteuil Kangourou armchair, named after the proportions of the rear legs that resemble a kangaroo’s. The second version, in a limited edition of only 100 units, launched in September, combines a dark oak frame with metal legs and bouclé upholstered cushions in the colour Blanc Colombe.

The first version of 150 units, launched in June, combined the natural oak frame with legs and upholstery in bouclé Bleu Marcoule. The armchair was created based on the historic Antony chair, the first piece in the collection of Vitra’s Emeritus President, Rolf Fehlbaum, and a constant reference in the development of Prouvé’s collections.

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Many Made in Italy companies are attentive to the phenomenon of reissues. The offerings are refined, celebratory and decidedly current

Quaderna Scrittoio / Quaderna 2750, Superstudio 1969–1972, Zanotta 2022 — “The Quaderna collection by Superstudio has featured in Zanotta’s catalogue since 1972 and has never been out of production. We wanted to reconsider two pieces that were never produced and introduce a fresh tribute in celebration of the series’ 50th anniversary”, says Giuliano Mosconi, Tecno/Zanotta group’s President. For the enthusiasts, the ‘architectural forms’ linking the group of architects’ history to the company now add up to eight. The chequered, notebook-style laminate and the bridge-like frame are ageless, even on the ‘new’ desk with drawer. The production combines a highly industrialised process with patient craftsmanship employing the inlay technique (it takes about eight hours to make a single piece).

Today as yesterday, only replacing the screen printing with digital printing.

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DESIGN ICON/1 Feijns echoes these ideas. With the innate flair of a vintage collector, in 2007 he founded MidMood-Design, which in 2011 merged into the current Mass Modern in Roosendaal, with a showroom of about 5,000 square meters. Its premise doesn’t betray the environmental aspect: “Used goods help us build a better future, there’s so much beauty around”. But also the romantic one: “Personally, I’m not a fan of reproductions.

For me, vintage is something personal with a story, it’s the special thing that you looked for or found by chance and it attracted you.

Not a brand-new piece available manifold. However, the demand for modern antiques is growing, as is the interest of younger generations. Companies may realise that it’s worth making what seemed too costly and in low demand again. For better or worse, this affects us too. Some previously unknown pieces gain more attention and thus become desirable.

Others lose value because too visible”. Christian Grosen, Chief Design Officer at Vitra and creator of two versions of the limited edition, Fauteuil Kangourou armchair by Jean Prouvé, anticipates collector’s fears and delights enthusiasts: “We thought it would be interesting to present it in two variations, with light and dark wood, and with different textile combinations, because they imbue each with a truly unique and individual look. Kangourou was originally produced only for a few private customers, which is why we liked the idea of reissuing a limited number of pieces”. —

Le Mura, Mario Bellini, Cassina 1972, Tacchini 2022 — “Reissues focus on reclaiming the attraction of timeless design, demonstrating its iconicity through new finishes and materials”.

The words of Art Director and Tacchini’s CEO, Giusi Tacchini, explain why reissuing a modular sofa created in 1972. Besides enhancing the company’s artisan manufacturing capabilities, today the sofa is recreated with the involvement of Mario Bellini’s himself, who originally was inspired by the imposing Roman walls in creating simple modular blocks.

Fifty years on, he faces the latest aesthetic and ergonomic demands for informal comfort, which comes back as an essential furniture style, for small and large spaces, adapting to contemporary living’s concept of relaxation and entertainment.

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Photos © Bruno Falchi & Liderno Salvador

For collectors, original modern design pieces have always been highly sought after; however, interest has spread to the wider market and companies have made this a new area of research and development. Thus, “the trend of ‘reissues’, the search for the great masters of the past, has grown into a real phenomenon”, agree Roberto Giustini and Stefano Stagetti from the Roman gallery Giustini/Stagetti, known for its sophisticated research into 20th century Italian design and its stake in current, up-and-coming creatives. What are the reasons? “Some designer’s names and their stories” — they answer – “guarantee financial rewards capable of legitimising a brand, define its individual traits, and at the same time provide a less risky product. A perfect marketing recipe...” Giusi Tacchini, CEO and Art Director of the family business founded by her father Antonio in 1967, responds remotely. As a sort of archaeologist, in 2010 she launched the Design Classic catalogue: “We retain the original integrity of the projects, but we review the details and above all, the materials and finishes, making them more contemporary, adapting them to today’s production processes. Among the main reasons driving us to choose a reissue, I believe lies the rediscovery of past avant-garde traits that have now become desirable. The purpose is not to stumble upon fleeting styles, but to own a piece of design history that withstands the concept of time, transforming into an icon”.

Giuliano Mosconi, President of the group uniting two brands, Tecno and Zanotta founded in the 1950s, the latter acquired in 2017, admits, “the public has rediscovered the value of certain objects for the home. Interior design, which today defines every single major brand, has shifted attention to a complex idea of decor. What captures and drives the choices isn’t novelty, but the style that each company manages to express. That is how products are rediscovered and reissued”. Dutchman Etienne

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The VLA26 Vega Chair, designed in the 1950s for the halls of the building in Copenhagen of the same name, is now in production

by Carl Hansen & Søn with Vilhelm Lauritzen Architects.

Courtesy of Carl Hansen & Søn

Back on stage The furniture pieces designed by Danish architect Vilhelm Lauritzen have been rediscovered: custom-made for his functionalist architectures, they are now in production.

Always current, now as then, they tell of a timeless design words by Laura Maggi

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Simple, linear and highly refined: the design language ranges from architecture to furniture, down to the smallest details

Photos Rasmus Hjortshøj

The Vega, or Folkets Hus (The People’s House, 1935–1956) was designed

by Vilhelm Lauritzen as an entertainment venue for the labour movement. In 1996, after a careful refurbishment, the modernist building was turned into a concert space with rooms of different capacities and a nightclub. As usual, the architect designed not only the furniture, but also every single detail, from the woodwork, friezes and chandeliers to the fixtures, doorknobs and electrical outlets.

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Courtesy of Carl Hansen & Søn

Belonging to the Foyer series is the bench exclusively designed by Vilhelm Lauritzen for the Radiohuset in Copenhagen, the building he worked on from 1937 to 1945, used as the headquarters of the Danish national broadcaster Danmarks Radio. Made of oak, it is now reissued, together with a sofa and a lounge chair, by Carl Hansen & Søn in close collaboration with Vilhelm Lauritzen Architects and with full respect for the original design.

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‘Architecture is an art that everyone should enjoy, not a privilege for the few’, Vilhelm Lauritzen liked to repeat

“No life without aesthetics” was the mantra of architect Vilhelm Lauritzen, among the masters of Danish functionalist and modernist architecture, although not a household name.

A mantra that inspired all his professional output, leading him to elaborate a simple, linear and highly refined language, with attention ranging from the design of the architectural structure to the furnishings, including the smallest details, such as handles, handrails and electrical outlets. His idea of a work of art entailed total control over the entire project and was very close to that of Gio Ponti, his contemporary. Today, in the year marking the centenary of the foundation of his studio, which has continued to be active since 1922 in Copenhagen, two of his furniture projects are back on stage thanks to the partnership between Vilhelm Lauritzen Architects and Carl Hansen & Søn, the company that has put them into production. “The final prototypes were developed about two years after the first meeting at the offices of Vilhelm Lauritzen Architects”, says CEO Knud Erik Hansen, third generation of entrepreneurs. “A wonderful experience; the furnishing projects were created for the buildings they were intended to, custom-made, but never produced. With the studio, we selected two works linked to two famous Copenhagen building projects designed by Lauritzen: The Radiohuset building and the Vega cultural centre. Together with the company, we worked to adapt comfort to meet present day needs, while preserving the original design that makes the Foyer series, composed of bench, sofa and lounge chair, timeless”, furniture that will last a lifetime. “At the same time”, continues Anne Møller Sørensen, partner of Vilhelm Lauritzen Architects, “the VLA26 Vega Chair is an expression of Danish design at its best. It illustrates the distinctive Lauritzen’s touch: a functionalist, simple and evergreen design, which at once preserves a well-defined personality”. Born in 1894, after studying at the Royal Danish Academy of Fine Arts and a series of projects that never saw 78

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the light, inspired by a monumental classicism, Lauritzen encountered the avant-garde of Functionalism, characterised by structural innovations and the use of materials such as cement.

We find traces of this, for example, in the architecture of the Copenhagen Airport Terminal (1937–1939) with its original concrete wave ceiling. “Architecture is an art that everyone should enjoy, not a privilege for the few”, he liked to repeat; a belief that stayed with him until his death in 1994. The Foyer series was conceived for the lobby of Radiohuset, home to Danish national broadcaster Danmarks Radio and today venue of the Royal Danish Academy of Music. The building was erected during World War II when Denmark was under German occupation. Point of honour for Lauritzen was not allowing the Nazis to use this space for their propaganda, and, like Penelope, he succeeded in slowing down its construction, which began in 1937, completing it only in 1945, the year of the German surrender. The VLA26 Vega Chair, on the other hand, belongs to the project for the Vega or Folkets Hus (The People’s House, 1935–1956) conceived by Vilhelm Lauritzen as a meeting place for the working class. In 1996, it was converted, after a careful restoration, into a concert space hosting, among many others, Prince, David Bowie and Bjork.

“We didn’t have a chair in our collection that was easily stackable like the Vega Chair, one more reason to put it into production”, emphasises Knud Erik Hansen, “and it’s very satisfying to see how these new products, created in the past, have seamlessly become part of our family”. The collection, recently also showcased at the London Design Festival, is made at the factory, founded in 1908 as a joinery, located on the island of Fionia, a couple of hours drive from Copenhagen.

Here craftsmanship, accrued over the course of a century, is expressed in woodcraft, in the interweaving of the seats, and in the processing of leathers and upholstery fabrics. —

Photo Rune Buch

The large hall of the Copenhagen Airport Terminal, one of the most famous projects by architect Vilhelm Lauritzen (1937–1939), underwent restoration in 1998. It is considered among the earliest examples of Danish functionalist architecture.

Under the spectacular skylight, the lounge of the new Naos concept space, in Rome. The DJ booth, custom made by skilled craftspeople, is enhanced by an audio system designed by Simone Menassè and Oreste Palmarola of Audio Factory. Bespoke sofas and coffee tables, and vintage chairs by Pierre Jeanneret.

PLACE TO BE

On stage in Rome Restaurant, mixology bar, music space and art gallery. In a former warehouse overlooking the Eternal City, Simone Menassè has designed a new space devoted to lifestyle words by Francesca Benedetto — photos by Simone Picchi / p&p photography

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In classical architecture, Naos meant Greek temple, or rather its inner part featuring the statue of the god to whom the building was consecrated. Today, it’s the name chosen for the latest concept space devoted to lifestyle created by Simone Menassè, already the designer and patron of Cohouse, the first Coffee Pot and the newly opened The Sanctuary, some of the most recent and innovative venues of Roman nightlife.

After studying architecture, Simone shared ideas and strokes of genius with his partner Stefano Papa, designing places that combine the entertainment world with his passion for design.

We’re in the Ponte Milvio area, inside a former electrical goods warehouse, now transformed into a restaurant, bar, a space for music and an art gallery. “The first time I visited the place I immediately fell in love with it”, says Simone. “The architecture is characterised by an exposed concrete perimeter wall that delimits a space of 600 square metres with a large terrace overlooking the city. Thanks to the work of talented craftspeople, we have highlighted the original building with its spectacular central skylight to create a liveable, comfortable and elegant space that simultaneously incorporates different activities: from exhibiting furniture and art objects to the contemporary Greek restaurant and the mixology bar. The brutalist structure has been softened and embellished though the inclusion of boiserie and 82

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natural walnut counters, travertine tables, furniture referencing 1950s design such as the vintage chairs and armchairs by Pierre Jeanneret, or the maxi modular 1970s leather sofa as well as a selection of my abstract paintings. In some ways, the project was a personal journey where I was able to experience a different and innovative approach, that of virtual reality. Before getting to the final solution, we processed every possible 3D configuration with Meta Arch studio in Rome. To be able to ‘traverse’ the space and visualise it finished, even before the works began, allowed me to make decisions that otherwise would have been impossible”. The space is divided symmetrically with a large living room at the centre, the undisputed hero besides the custom-made DJ booth enhanced by a bespoke audio system. One side features the restaurant area with travertine and marble tables in different shapes and sizes. These materials also feature on the horseshoe counter of the mixology bar, around which one can also dine. An elegant 1950s walnut bookcase converted into a wine rack grabs one’s attention. From inside the Naos, one accesses the terrace overlooking the neighbourhood’s rooftops. Here, the low sofas and wooden furnishings turn the outdoor space into a large living room with a view. An invitation to enjoy moments of relaxation among the camphor trees and the Mediterranean scrub, during Rome’s warm October evenings. —

PLACE TO BE

Surrounding the bespoke walnut table, vintage chairs by Pierre Jeanneret and, on the wall, geometric shapes and minimalist lines on large decorative canvases by Simone Menassè.

Opposite page, a corner of the restaurant, a tribute to 1970s style with lamps, serigraphs and an elegant, oval marble-top table.

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“With the help of artisans and set designers, we transformed a former concrete warehouse into a concept space devoted to music, gastronomy and art” Simone Menassè

Clockwise from above, a view of the Naos terrace overlooking the rooftops of Ponte Milvio, Rome.

Relaxing chairs and sofas with a travertine base furnish the outdoor living area beneath the camphor trees. The bar counter is the place for entertainment par excellence: around the horseshoe travertine slab, one can savour cocktails, converse and also dine. Decorating the space is the vintage De Sede sofa with modular leather elements.

Opposite page, the large skylight at the centre of the room projects the furniture’s outlines against the concrete surface. Bespoke sofa and coffee tables, vintage chairs by Pierre Jeanneret and, at the back, artwork by Simone Menassè.

Some of the objects and artworks are available for purchase on site.

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PLACE TO BE

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The architect and researcher lives in Milan, where he founded the studio 2050+. He teaches ‘Data Matter’ at London’s Royal College of Art: the course deals with the impact of digital content on reality.

PEOPLE

Ippolito Pestellini Laparelli Speculative research as a design horizon for saving the planet: the architect and curator chooses science fiction to narrate the future

by Paola Carimati — photos by Anuschka Blommers and Niels Schumm

He’s decidedly an ‘accelerator’, i.e. an expert in `smart technology’ who studies which practices to ‘accelerate’ to counteract the climate crisis. Also due to his unconventional professional skills, the staff of Rotterdam’s Architecture Biennale included him among its participants alongside 2050+, the agile and interdisciplinary planning and speculative research unit launched in 2020, in Milan. “In order to respond to contemporary emergencies, the studio acts in a modality that cuts across technology, politics, visual arts and sustainability”, Ippolito Pestellini Laparelli emphasises. Being in line with his practice, ‘It’s about time’, the 10th edition on show in the Netherlands until 13 November, is thus a platform for discussion, an opportunity for the project community to engage in building an ecologically and socially aware future. Starting with a fundamental book in the history of sustainable culture. “‘The Limits of growth’, commissioned to MIT by the Club di Roma”, recalls Ippolito Pestellini Laparelli, “already in 1972, the year of its publication, warned that exponential economic growth would lead to ecological disasters within a century” unless society could make the necessary adjustments.

“Unfortunately, that scenario has come to pass”, notes the architect with a PoliMi degree and a fifteen-year collaboration with the Rem Koolhaas studio, “now each of us is asked to take responsibility and question: what action we can take to radically change the opinions about growth and development?”.

The position of his working group is clear: “we are critical of all paradigms that claim degrowth as the only possible alternative to the environmental emergency”.

He explains this in the latest video-installation, ‘Synthetic Cultures’, set in 2072: in the ‘science fiction’ that intertwines scientific data, consumption and actual lifestyles, three avatars reveal what might happen if the consumption of meat from farmed animals were replaced by artificial tissue harvested from stem cells. “Central to the project’s development is a kind of biotechnology already widely tested in the 1970s”, says the architect. “Its use would free up natural resources and infrastructure spread across the country and traditionally devoted to the entire food chain”, a conversion that would result in extraordinary environmental benefits. If only we were able to

govern its fallout. Reducing CO2 aside, the hypothesised, radical and possible scenarios seriously speak to the enthusiasm of vegans willing to embrace new lifestyles, to the greed of those seeking to monopolise the new business, and to the scepticism of the ‘no-meat’: “that portion of the population that, resistant to change, considers meat a sacrosanct cultural and religious symbol”. The cyber narrative, much beloved by Pestellini because it allows to clarify what hasn’t manifested yet, declares technology’s neutrality: the moment when it’s implanted into history, the political and ideological states define it.

“I like to recall Salvador Allende’s incredible project at the start of the 1970s, in Chile”, the researcher remembers, “‘Project Cybersyn’ was the prototype for a futuristic ‘control room’, a kind of centralised brain at the service of the community, designed to control and regulate in real time the country’s entire industrial production”. For 50 years man has had the tools to implement solutions in service of the planet, and for 50 years we’ve been waiting for the ‘system’ to make them scalable and therefore usable. “Despite the fact that access to digital platforms, social networks and online gaming is ‘open source’, sharing does have inherent inequalities, forms of domination and undeniable abuses”, a paradox. “The promise behind the launch of the web, of the virtual realities in which we are immersed, and the metaverse — a concept that can be traced back to the pages of the cyberpunk novel ‘Snow crash’, written

by Neal Stephenson in 1992 — was very democratic: the internet presented itself to the world as a liberating place. In every way”.

Then something changed and free access turned into a means for labour exploitation. Think of delivery drivers, labourers working for large global companies, who despite having contributed to keeping our social factory alive in the lockdown, are still fighting for the full recognition of union rights.

‘Riders not heroes’, the video released by 2050+ last year about the working conditions of delivery riders in Milan, addresses this: “we described the short-circuit the digital world creates when interacting with the systems of accelerated capitalism”. A work that also criticises our inability to govern this widespread and pervasive technology. Let’s continue with ‘Media Archaeology’, the book by Erkki Huhtamo and Jussi Parikka, to remind ourselves that before understanding how a medium works, it’s necessary to understand how it’s made.

“Because, beyond the dystopian scenarios of an IT industry that to deliver a new mobile phone every year is forced to extract lithium from the depths of the sea, and which in carbon footprint terms equals the global civil aviation industry, it’s no longer sustainable”, the architect concludes after a video interview lasting over an hour. A necessary exchange of data. — 87

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Energy conservation To curb the impacts of the climate crisis is to reduce energy consumption: designing a future in balance with nature is the current challenge. Let’s give it a go

Photo Marc Goodwin, Archmospheres

by Paola Carimati

Starring on the Finnish archipelago is the Majamaja eco-cabin

by Studio Littow: a model housing unit for which Helsinki promotes the installation. A cultural project to support the revitalisation of tourism on the islands.

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Photos Marc Goodwin, Archmospheres

Off-grid technology — To live surrounded by the tranquillity of extreme landscapes, to contemplate rare and unknown ecosystems is now possible: especially in the North, where a new concept of intimacy and minimalist well-being is spreading. Majamaja, the small eco-cabin designed by Pekka Littow, is a pioneering example of a refuge that lands at the water’s edge of Helsinki’s archipelago to accommodate couples and families who love free style. The images pictured, starting from the top, reveal the potential of this minimalist housing unit: with about 23sqm it incorporates all the necessary and useful amenities. On the ground floor: kitchen with a retractable table, living room with outdoor area for bird watching and sleeping quarters on the mezzanine, all in Finnish wood. At the heart of the concept are structural resources with zero miles; solar and wind power with solar panels on the roof (and micro-turbines for back-up) to heat and light the space; rainwater collection and purification systems ensure hygiene and heath standards. Circular and self-sufficient: a dream for the most radical ecologist.

“The model installed at Vuorilahdenniemi”, says the designer referring to the habitable outcrop jutting out from the sea that can also be reached by land, “is the first of six cottages to be installed, including a building for the sauna; the idea is to create a pilot project for a village”.

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Indoor ecosystems — Mushrooms, linen and clearings as sources of inspiration: Mari Koppanen and Tong Ren’s designs are ‘made in green’, which from prototypes work towards industrial production.

Among the projects selected by curator Elina Aalto, for the Talentshop and Protoshop exhibits at Helsinki’s Habitare fair, are two accessories suitable for interiors. Fomes, top left, is a padded stool covered in a material that to the touch feels like suede: the effect, particularly velvety, is achieved by processing Fomes Fomentarius mycelium, from the Transylvanian forests, hence the series’ name. Piha, the pure linen fabric with animalier pattern, designed by the Chinese creative from Henan, brings together the experience gained in Lapuan Kankurit, the historic Finnish brand with a sustainable calling since 1930, the year in which it was founded. A tribute to seagulls, among the most beloved species in Finland.

En plein air conviviality — An image taken from ‘Refuge for Resurgence’ by Superflux, the Londonbased interdisciplinary studio that investigates the overlap between architecture, anthropology and ecology.

The work, presented in 2021 at the Venice Biennale Architettura curated by Hashim Sarkis, is an imaginary banquet set up with what would remain on Earth after surviving a climate catastrophe. Tomorrow, the world will be inhabited by multi-species communities that the researchers imagine gathered around a majestic oak table.

Will humans, animals, birds, plants, mosses and fungi gather next to one another to celebrate life? Togetherness is the only way to foster hope and overcome fear: the future lies in coexistence.

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Total green — In Fiskars, the village home to the Finnish tool company by the same name, the second edition of the Biennale of Art and Design just ended. The scheduled events, curated by Kari Korkman, also included ‘House by an architect’: a call to action for professionals invited to design models of wooden house no larger than 30sqm. A humble and wonderfully modest example is that by the Swedes, Sommarnöjen: a jewel of simplicity designed to be durable and to blend in with nature. When in 2024, Finnish legislation will speed up the development of housing units in this size, the market will cause production and tourism to soar. And summer cottages will become a solution to be replicated at all latitudes.

Carbon-free fashion — What if textile padding were a viable, natural alternative to using (animal and barbaric) methods relying on goose feathers, and promoted instead sustainable agricultural practices like restoring the peatland ecosystems? In Finland it’s possible: Lukas Schuck and Tea Auramo, who study at Helsinki’s Aalto University, have considered this. The completely scalable project, Fluff Stuff, transforms the inflorescences of the ‘Typha latifolia’, a typical plant of the Northern wetlands, into soft cotton: collected by a portable machine that extract it from the spike, it is then processed the with minimal environmental impact. On balance, according to the experts, Finland’s peatland drainage is responsible for almost 60% of agricultural emissions. From down jackets to be worn, to pillows and duvets to keep warm in bed: the fibres of the Typha, naturally covered in a layer of wax, are highly water-repellent, making the material extremely versatile. Peat (and moisture) proof.

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Renewables/At high altitude — An idea by an all-female team gave rise to Shine, a portable wind turbine manufactured by Aurea Technologies: an ultra-compact and lightweight device designed for trekking enthusiasts who need to recharge devices, lights and cameras on the summit. It’s a matter of safety. Folded, the kit takes up the space of a 1 litre water bottle, weighs about 1 kg and features a lithium-ion battery: 40 watts for emergencies, storing power in unfavourable weather conditions. “Despite being the second cleanest energy sector worldwide”, says Cat Adalay founder of the Canadian brand, “wind isn’t accessible to most people. We created an opportunity”. The size of a backpack.

Renewables/Offshore — The Oslo-based Norwegian company, Wind Catching Systems (owned

by Ferd and North Energy), is working on a truly impressive wind farm project: Windcatcher is a floating platform that supports a lattice frame structure, a sail comprising 126 wind turbines of 1 megawatt. Each of the pictured units is anchored to the seabed via a single point mooring system, meaning a type of manoeuvre that, while keeping the masts in place, allows them to rotate and catch the wind. From seafaring artistry to engineering, the structures are 284 metres high and 344 metres wide, like the Eiffel Tower. This means that the Windcatcher, which carries the largest wind turbines available on the market today, was developed to make offshore wind power accessible and sustainable. A concept that, in times of energy crisis, could be a game changer for wind farms in facilitating access to this energy source.

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Changes in scale — Marjan van Aubel transforms solar energy into household objects: Ra, for example, is a kind of transparent film that captures the sunrays and renders them on the wall like an artwork (above), while Current Table is a table with a photovoltaic panel-top capable of recharging small appliances. Graduating from the Gerrit Rietveld Academie DesignLAB in 2009, and three years later from the Royal College of Art, she designs to shape a positive future in which sustainability, design and technology cooperate for the common good. Surviving the energy crisis is possible as she exemplifies in her first ‘Solar Biennale’, an event devoted to alternative energies and staged in Rotterdam (until 30 October).

Her research focusses on the seamless integration of solar power in architecture and interiors, with the aim of making it accessible. Collaborations with international brands such as Cos, Timberland and Swarovski are also instrumental to the goal by accelerating the global energy transition towards the more widespread use of solar power.

Solar diving — A dynamic meeting place where visitors can experience the sensory nature of renewable energy: the Solar Pavilion is a group project arising from the collaboration between studio V8 together with Kameleon Solar and Marjan van Aubel, who defined the design for the set of coloured photovoltaic panels. It is a ‘smart fabric’ that collects the sun’s power to illuminate the portion of the square on which it is gently laid. The technology, completely integrated in the colours, captures the power of the sun’s rays to illuminate the darkness and provide a unique and immersive experience for visitors. In Eindhoven, from 22 October on the occasion of Dutch Design Week, of which the solar designer is an ambassador.

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From architecture to interior design: the renewable energy project enters the home sphere, transforming technology into a creative tool

What do we know about energy? Where will the new energy landscapes land and with what impact? But also: can energy be tamed? Together with the students of the Technogeography course at the Design Academy in Eindhoven, Martina Muzi wondered about the meaning of this force. “Energy is a system of economic, political and social relationships”, explains the teacher, “and as such it’s responsible for the quality of our lives and the future of the planet”. This consideration touches on the controversy about the use of fossil fuels, then goes further: “The activities of extraction, production, transportation, consumption and control of this type of resource, have very different effects in the world’s North and South. Especially in environmental terms”. While polluting on a large scale, the outcome varies from place to place: in developed countries, it’s positively linked to concepts such as abundance, accessibility and security; in the poorest developing countries, to catastrophic climate fallout. Ugandan activist, Vanessa Nakate, spokesperson for Fridays for Future reminds us of this in her latest book, ‘A Bigger Picture: My Fight to Bring a New African Voice to the Climate Crisis’, published in Italy by Feltrinelli, once again reports that while we’re all weathering the same storm, we’re not all in the same boat. “Energy, therefore, plays a central role in environmental challenges, because it forces us to address the issue of global pollution in terms of social justice”, Muzi points out. The project tries to contribute, to refocus the practice at different latitudes: from floating wind platforms to portable blades, from photovoltaic parks to solar textiles. Generating clean energy is as important a creative challenge as considering how to reduce the dynamics of consumption. In Finland, for example, the government launched the ‘Energy Renaissance’ programme, a guide to accurately plan zero-impact energy undertakings; it also foresees the simplification of regulations on prefabricated wood, to facilitate the building and installation of housing units under 30sqm. Majamaja, the cottage at the start of the article, is an example of new sustainability that’s accessible and replicable anywhere: intimate because it’s functional, sustainable because it’s self-sufficient; it demonstrates that design and architecture, when they integrate the right technology, are indispensable drivers in triggering the right ecological transition.

The intensity of climate change, the precarious status of gas supplies and the resulting socio-economic and environmental inequalities, are so closely linked that a paradigm shift has become crucial. It’s necessary to veer from a model of ‘citymachine’ built on a linear growth system, to a circular evolutionary model of ‘city-organism’. This is also being discussed in Lisbon during the Trienal de Arquitectura (on show until 5 December): ‘Terra’, the name of the exhibition curated by Cristina Veríssimo and Diogo Burnay, is a call to action. We learn to consume less and produce better, to regain the equilibrium lost between communities, resources and processes. “If only we had become aware of the scenarios described fifty years ago in ‘The Limits of Growth’”, says Joseph Grima at the Habitare fair in 100

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Helsinki, “perhaps today we’d have a better chance to slow down the impacts triggered by climate change”. The ‘Rapporto sui limiti dello sviluppo’ (Report on the limits of development) commissioned to MIT by the Club of Rome, and published in 1972 by Meadows, Randers & Behrens, already fifty years ago, demanded we consider the concept of prosperity (as discussed earlier by architect Ippolito Pestellini Laparelli in the interview on page 86). “Acting on energy consumption means acting on the materials, because it’s the materials that carry the energetic footprint of what is produced”, says the creative director of the Eindhoven school. Designing today is a truly complex endeavour that requires rethinking the relationship with matter. ‘Non extractive architecture’, the exhibition devoted to redefining the balance between the built environment and nature, is based on this principle: to not only reconsider the role of technology and politics in the material economies of the future; but also the vision of the architect seen as an agent of change. “In the meantime, we begin mapping new forms of matter”, from PoliMi to Aalto University in Helsinki, European research labs are online and exchanging knowledge via open-source methods. “From mushroom-based fabrics to woodworking offcuts to replace stone powder, from paper to certain types of completely natural linoleum: we are the keepers of what nature enables us to share, let’s not waste it. Let’s consider the sun”, Grima concludes, “the energy it releases can be integrated into the surface of objects and shifted across domestic interiors to fuel them sustainably”, a project on which Marjan van Aubel and Pauline van Dongen are working. A truly stellar revolution. —

Light fabrics — Glamorous and chic, the jacket in sun-powered Textiles, a fabric with integrated solar cells designed by Anne Kinnunen at Aalto University in Helsinki. A high-tech experimental project that, thanks to the know-how of three Finnish brands (Foxa, Lindström and Haltian) demonstrates that photovoltaics is a flexible technology that can also be worn.

Äng, the Michelin-rated restaurant inside a scenic greenhouse/ architecture, spreads over two additional underground levels.

Opened in summer 2022, it was designed by Norm Architects amidst the Ästad Vingård hills in Sweden, an hour from Gothenburg.

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FOOD EXPERIENCE

Stellar glasshouse Set like a glass prism among Sweden’s largest vineyards is the Äng restaurant designed by Norm Architects: a place conceived to provide a unique gastronomic experience words by Laura Maggi — photos by Jonas Bjerre-Poulsen

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The lounge area is designed to interact with nature, thanks to the glass walls and roof. Decorating it are armchairs and sofas by Keiji Ashizawa for Karimoku Case Study, with adjusted proportions.

Solid oak wood coffee tables.

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The kitchen is entrusted to executive chef Filip Gemzell who, together with his team, works closely with local producers, hunters and fishermen to source products from to the Scandinavian territory. The degustation of the tasting menu takes about four hours. On the right, the underground wine cellar plays with dark hues and has cosy chairs for wine tastings.

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The all-round experience of haute cuisine, art, nature and architecture begins by following the path leading through the cultivated fields to the Michelin-starred Äng restaurant in southern Sweden, surprisingly housed inside a glass greenhouse. The simple iron frame designed by Norm Architects is sealed with clear walls reflecting the landscape as it rises like the tip of a sparkling iceberg above the greenery in one of the region’s largest vineyards. And, like an iceberg, it hides submerged volumes. While the welcoming ground floor houses the bar, lounge and kitchen, the underground level reveals a well-stocked wine cellar devoid of windows; a second lounge and a large dining room flooded with natural light; the additional underground level, carved into the slope of the hill, opens up to wide views over the pond, lakes and beech forests of the Åkulla nature reserve in Halland. The client’s idea was “to provide guests with a long break to leave everything else behind and enjoy the Äng universe. A beautiful place for spending time and for discovery”. The tasting menu curated by executive chef Filip Gemzell consists of nineteen courses and the entire culinary journey lasts four and a half hours, from an aperitif in the lounge, to a descent by lift into the hidden cellar area cloaked in semidarkness, to dessert overlooking the countryside as the sun sets, in a continuum of atmospheric changes. “We played with the effects of chiaroscuro, a visual art technique used to represent light and shadow to define objects and achieve a sense of volume”, says Jonas Bjerre-Poulsen of Norm Architect, “so, as you enter the shadow, your vision weakens while the other senses intensify.

Automatically, one pays more attention to sound, smell, taste and touch: intuition and instinct are also strengthened. Thus, the

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A glimpse of the dining room with oak furnishings by Karimoku Case Study and ceramics by Dane, Viki Weiland. The walls are soundproofed with Acoustic panels by Kvadrat.

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As the hours roll by, at sunset the colours of the surrounding landscape take on warm golden tones, tingeing the internal mood of the glass house. The same oak of the Karimoku Case Study furnishings acquires a particularly intense shade. Here, beside the large window, the evening turns to night as desserts end the meal.

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surprising transition and the change of scenery prepare the guests for the next part of the holistic dinner experience”.

And, as architect Peter Eland points out, “in many ways the goal of the Michelin-starred restaurant is in line with our design philosophy: to find a delicate balance between all the sensory experiences that make up a space, to create a harmonious environment, in which all the elements support each other”.

Frederik Werner of Norm Architects recalls that the interiors, designed in collaboration with Karimoku Case Study and Keiji Ashizawa Design “offer a holistic and sensory experience that enhances the culinary offering and reflects the identity of the restaurant. We found inspiration both in the pristine Nordic environment that surrounds Äng, as in the Japanese sensibility for the aesthetics of design and fine craftsmanship”. Founded in 2008 in Copenhagen, Norm Architects is identified by a strong design philosophy, which it defines as ‘soft minimalism’. It stems from the idea that “spaces and furnishings should serve those who use them rather than being a means of artistic expression.

Our design principles are in fact people centric. Soft minimalism consists of perfecting spaces and designs in their purest forms, while maintaining a feeling of comfort and naturalness in creating spaces that possess significant tactile qualities. The philosophy is characterised by great attention to materials, scale, sound and above all people. We are not just architects and designers: we are listeners and storytellers. Our task is to understand the needs related to people’s daily lives”. —

DESIGN&CRAFTS

Handmade In the Pavia countryside, not far from Milan, Studio Terre’s small artisan workshop: an open and protected space for creative activities in tune with nature’s slow pace

by Chiara Dal Canto — photos by Helenio Barbetta / Living Inside — words by Murielle Bortolotto

A portrait of Nino and Jufà, founders of Studio Terre.

An artisan workshop that produces everyday items with imprecise and timeless shapes. Terracotta, chosen as the raw material, is turned into vases, tables and chairs.

Wool and glass become rugs or containers.

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Vintage furniture, travel souvenirs and handmade designer pieces: a welcoming and warming mix of styles

A corner of the country studio: among the objects dear to Nino and Jufà, an antique Apulian jar and a lathe (among the very first pieces chosen to define the space) stand out.

Next to the Tolomeo lamp by Artemide and the Sgarsul rocking chair by Gae Aulenti for Poltronova, The Hug rug by Pierfrancesco Cravel, Marcello Bonvini and Alberto Sandroni for Volumnia. Pieces by Studio Terre punctuate the space.

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The countryside as a source of inspiration.

Pure air and clay becoming material to be moulded

Above, from left, resting on a plane surface, the tools of the trade; right, a view of the Pavia countryside. Below, from left, a detail of the parish church in Trivolzio, a town in the province of Pavia that is home to Studio Terre.

Right, vases and containers with small engravings, Comari no.

01-02-03, from the Experimental Interaction series.

Raw earth, worked with natural oils and waxes, is the hero.

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True, sustainable and shared are the keywords of Nino and Jufà’s slow design When you click on their website, the words “experimental art studio” followed by “slow design: true, sustainable and shared” appear on the homepage. For the duo featuring Eva Noemi Marchetti and Francesca Guarnone, better known as Nino and Jufà, they are the fundamental notions of their project idea. Green inspiration, like the countryside where they work together with Riccardo Brunetti and create unique, non-replicable accessories and furnishings.

Each of them has a soul and a story to tell. Using sustainable materials, such as clay and glass, they revive the local traditions without ever overlooking the harmonious connection with nature. A slow, manual approach, following the rhythm of sunlight and the changing seasons. For the young designers, getting their hands dirty and shaping new forms is an essential part of their creative process. Each piece is a metaphorical bridge that links the past, rich in artisan traditions, to a future to be invented. Studies completed at the NABA, Nuova Accademia di Belle Arti Milano (Academy of Fine Arts Milan) both graduating in Fashion and Set Design, but above all a friendship that has continued since high school. After several experiences working for luxury brands and important Italian set designers, after the pandemic they decided to go back to their roots, in the countryside, where their hearts still reside.

Originally from Casteggio, a small village in the Oltrepò Pavese area, they chose Trivolzio, near Bereguardo, a small town not far from the metropolis (the first exit on the A7 motorway, towards Genoa, when leaving the Lombard capital).

Cosy and off the beaten track, the chosen scale is perfect for starting out and launching into a new professional adventure.

The landscape they are building with their hands is inhabited by vases that recall the ancient low or super-thin wineskins and candle holders that challenge the force of gravity, but also chairs and earthen benches featuring organic shapes, as well as containers, glasses, Sardinian naturally dyed wool rugs and glittering glass bead screens. The names are a history lesson: the containers, for example, are called Conserve (Preserves), which become Maxi because of the size, and ‘Experimental Interaction’, indicating the clay mix. Reading them is a bit like discovering the underlying creative process that always leads back to the need for a slow-paced lifestyle and the importance of sharing. In September, we met them at the Lake Como Design Festival (contemporary design fair): they brought Caramellaio and Mostrini, the sweets holder with decorative element made of Murano glass and powdered terracotta, pieces previewed at the recent Designweek in Milan. What’s next? “At the end of October, we’ll be in Paris, at the Galerie Scene Ouverte. Then we’ll be focussing on fabrics and the art of embroidery”, they reveal, mulling over autumnal colours. Warm, tactile and in harmony with nature. — On top, in the studio, still life with Lume Candelabro made of light-coloured, glazed and stuccoed Lombardy terracotta; Conserva Madre vase, both from the Maxi series; Rosa, from the Interazione Sperimentale collection, is a raw earth, oils and natural waxes sculptural seat. Above, Convivio small table made of coarse-grained Lombard red terracotta; Conserva n.09, part of the Conserve line, is a terracotta, Salento fireproof clay and glazed candleholder.

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DESIGN SHARING

Radical interiors In Kastellorizo, in the Aegean Sea, the bold project for an artist’s residence: a choral space tailored to talent

by Paola Carimati — photos by De Pasquale Maffini

Among the four rooms revamped by as many creatives, the project of Swiss-French designer Julie Richoz stands out: it is subtle, but clearly recognisable.

The chromatic texture, a colourful rainbow covering the ceiling, continuously defines the living area and bedroom. And integrates space, objects and fabrics.

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DESIGN SHARING

Four young design studios transform a traditional home of sponge traders into an artist’s residence From 5Rooms to 4Rooms: Silvia Fiorucci Roman and Annalisa Rosso replicate the collective project format, already successfully tested in Grasse, north of Cannes, to inaugurate in Kastellorizo, in the Aegean Sea, a new artists residence tailored to the community. At the end of September, in fact, the collector, who invented the “Società delle Api” (The Bee Society, an independent no-profit organisation that fosters curators and creatives, researchers, institutions and philanthropists looking for an opportunity for exchange) together with the Italian curator, opened the “Porta Rossa” (The Red Door). It is a historic building in the ancient centre of the village of Kastellorizo, for generations owned by a family of sponge traders and subsequently by the Fiorucci family: “My father loved to stay there in the past, not far from where he anchored his yacht”, Silvia fondly recalls.

The excitement of the yachtsman who enters port welcomed by the applause of the locals and the chirping of crickets is unforgettable for anyone arriving by boat or ferry. As the last stronghold of Western culture, Kastellorizo is the most distant island from the Greek coast and the closest to the Turkish one, just 3 km from Ka. “As already experienced in Grasse, I wanted to give continuity to the project, created in collaboration with Villa Noailles”, says the patron. “To produce honey (as bees do) it is necessary to build a community of people who through their 124

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The hallmark of each designer selected by Annalisa Rosso – Silvia Fiorucci Roman, Michael Anastassiades, Alexis Georgacopoulos and Cristiano Raimondi – is apparent in the following pictures: on the left, the total blue of Icelanders Brynjar & Veronika, who focus on chromatic intensity; on the right, the formal and conceptual abstraction of Phanos Kyriacou.

DESIGN SHARING

4Rooms is an open and inclusive design project: a new way of rethinking space, function and design in the name of hospitality

Underscoring the elegance of Julie Richoz’s intervention is the detail of the bed-tatami, framed by the colours that punctuate the ceiling. The Swiss French designer, like the entire pool, has also worked in close connection with the local community: the concept of the 4Rooms project replicates the one tested in Grasse, 5Rooms, becoming a bridge between talent and community.

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talent generate beauty. For themselves and for others”. So, like a hive, this place is open to those looking for the opportunity to take time to nurture thinking and share experiences: “I don’t want anything in return, I’m living the dream of promoting ideas through the places I love and that speak to me”. What has remained of the original structure is the intensity of the door and window frames: Annalisa Rosso, together with designer Michael Anastassiades, director of ECAL Alexis Georgacopoulos and curator and set designer Cristiano Raimondi, has selected several young international designers who have been tasked with redesigning the interiors. Each designer had the brief of interpreting the rooms in line with their own personal design code: in the case of Cypriot artist Phanos Kyriacou, abstract; measured for Swiss-French designer Julie Richoz, chromatic for Icelanders Brynjar & Veronika and surreal for the Germans from the UND.studio. Superpoly developed the project for the communal space (playful and aggregating). “We asked each of them to experiment with objects and materials, providing a re-reading of the existing ones. To absorb their different creative languages into the unique reality of the island, we also asked them to involve local trades and businesses”, Rosso concludes.

“The outcome is radical work showing great courage”. —

GREEN

A glimpse of Forgotten Landscape, an installation by German landscape architect Cassian Schmidt who, last September, recreated the forest of Lombardy’s rivers in Piazza Vecchia, Bergamo, during the I Maestri del Paesaggio 2022 festival. Plants by Vivai Valfredda, trees by Coplant. Partners: Panariagroup, Pedrali, Mapei, Simes. imaestridelpaesaggio.it

Master of landscape Photo Gaetano Zoccali

“Designing an ‘urban jungle’ doesn’t just mean decorating the city, but counteracting the effects of climate change”. The renowned landscape designer of international fame, Cassian Schmidt, explains to us

by Gaetano Zoccali

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GREEN

Hermannshof research garden in Weinheim

Hermannshof in Weinheim (Frankfurt) — Above, the research garden directed by Cassian Schmidt.

Here the vegetation is organised in habitats modelled on North American prairies. Its biodiversity makes it resistant to climatic stress. Munich — Left, the park of the school campus not far from the city created by Schmidt in cooperation with Kübert Landscape Architecture.

The plant choice favours masses of herbaceous perennials, with yellow Rudbeckia, orange Helianthus and copper-coloured grasses such as Panicum and Miscanthus. Augsburg — In the German city’s Sheridan Park, the dense birch forest, below, bordered by a winding footpath, was inspired by a study on the forests of Aspen, in the Colorado Rocky Mountains.

Munich school campus

Sheridan Park in Augsburg

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GREEN

German landscape architect Cassian Schmidt, director of the Schau und Sichtungsgarten Hermannshof garden near Frankfurt, where he studies plants with which to design urban greenery that conveys an idea of controlled wildness. He is the author of the Piazza Verde 2022 in Bergamo together with Landscape Design students from the University of Weihenstephan-Triesdorf. sichtungsgarten-hermannshof.de

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A wood of willows with soft grasses, fragrant wild figs and industrious bees took up residence, last September, at Piazza Vecchia in Bergamo, with a surprising effect. “This is not just beautifying the city but finding a sustainable solution to mitigate the effects of climate change”, explains the designer of the green project, world-renowned German landscape architect Cassian Schmidt. In a protected historical context — “You can’t even touch a stone because it would be a crime”, said Le Corbusier — Schmidt has recreated what he himself defines as “the last European jungle”, showing an example of the few strips of woodland surviving along riverbanks in Lombardy. We met him in his garden, a manifesto created for the 12th edition of I Maestri del Paesaggio (The Masters of Landscape) the most important Italian festival dedicated to landscape design, promoted by the association Arketipos and the Municipality of Bergamo and entitled “Forgotten Landscapes”. “Forgotten landscapes also include those habitats to be protected, whose beauty we ignore, such as the floodplain woodlands [the interface between land and a watercourse] of the River Po to which I wanted to give visibility”. The leader of the movement called New German Style designed this project together with Aurelia Ibach, Verena Hurler, Fabiola Leonett von Wachter and Simon Schwar, students at the German University of Applied Sciences in WeihenstephanTriesdorf, who won the competition for the concept of the project.

Over seven thousand plants were selected, 80% of which belong to native species. For the audience of public administrators who attended Schmidt’s lectio magistralis, it was a real lesson for the future. For thirty years, in fact, the landscape architect — director of the Hermannshof research garden in Weinheim, near Frankfurt — has been studying new combinations of sustainable plants for urban environments inspired by natural habitats. “Biodiversity must find space in the city, because in addition to creating beauty, it performs strategic functions ranging from reducing temperatures and pollution to encouraging sociality, generating civic sense”, in line with the objectives of the 2030 agenda of the United Nations. “I study wild environments and then develop plant communities that I like to call “horticultural ecosystems”.

Spontaneous species and resilient ornamental varieties live together in these modules that successfully thrive without irrigation or fertilisation. Biodiversity is our best ally for enhancing the quality of a place and reducing maintenance normally required by green areas. Therefore, it is no longer necessary to think in terms of individual plants, but of plant communities in a project. Accepting the idea that flora is not always in bloom, but that it evolves from year to year, generating continuous surprises”, Schmidt explains. “The difference between my approach and that of the English school is precisely this: I talk about dynamic environments, where plants are spontaneously redistributed over time within an area, and I ask gardeners to support natural processes”. The outcome is surprising because this reduces the costs for municipalities. “In Europe, creating and maintaining a square metre of greenery, using traditional methods, costs on average 47.8 euros per year and requires 20 minutes of maintenance. With my dynamic communities, costs are reduced to 7.2 euros per year and 5 minutes work”. Ecological and economic sustainability have squared the circle. —

DESIGN STORE

Flowers in season Projects by a generation of architects experienced in floristry: suspended worlds that transform fragility into timeless beauty

Photo Takumi Ota

by Eleonora Grigoletto

The protagonist on the page is Gigi Verde Kobe by the Japanese studio, Sides Core: the architectural studio specialising in tailor-made design.

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Flowers within everyone’s reach — A new concept for creating floral bouquets: to break down the barriers between the customers and the objects of desire, the project by Canobardin for Mon Parnasse in Madrid, has recreated the atmosphere of a Parisian ‘marché aux fleurs’. The result is a space that recalls the flower markets, and which displays a sampling of multi-coloured arrangements.

The Parisian style appears again in the painted pine façade and the ceiling, where a trompe l’oeil turns into a bright and boundless sky. monparnasse.es 136

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Photos Takumi Ota; Imagen Subliminal

Floral architecture — Slender and discreet, inside the space of Gigi Verde Kobe in Japan’s Chuo Ward (above and previous page), a central arch guides the movements of customers and staff, and defines the activities of different work areas. The furnishings are movable, prioritising flexibility in relation to the change of scenery during the various seasons, and the colours of the architectural space are neutral to enhance and set off the chromatic intensity of the flowers. sides-core.com, isely.jp

DESIGN STORE

Florilegio — Designed

by Cristina Celestino, the Milanese project for florist Radaelli takes shape through the relationship between Ulrich’s original architecture and the new, site-specific renovation: every decorative interference is sublimated by the use of objects with a mirror finish. A natural and refined tribute to the location’s magic: within a few square metres fragrances and creativity coexist, suggesting a completely unexpected way of enjoying the space. For a new idea of urban and at once domestic greenery. cristinacelestino.com, radaelli1886.com

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Photos Castor; De Pasquale Maffini

The Art of beauty — When he opened his studio in a courtyard in Paris’ Marais, Louis-Géraud Castor had abandoned his almost twenty-year life as an art dealer without letting go of this principle: to always seek out beauty and convey it in its essential form. “Cut flowers are a suspended moment during which one dwells on them”, says the founder of Castor Fleuriste, who with each arrangement conjures the eternal desire of creating a rendezvous. moredesignoffice.com

A shady field of flowers — In a bank’s former headquarters, nature merges with artifice to create a new mood: here, the wrapping is cast aside to display an expanse of blooming vases. Roman Izquierdo Bouldstridge’s project for Colvin’s Barcelona branch welcomes visitors and assists them in selecting their favourite flower arrangements. romanizquierdo.com, thecolvinco.com/es 140

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Photo Adrià Goula

DESIGN STORE

DESIGN STORE

O’Flower — An ode to the simplicity of shapes and materials was the idea behind the Plainoddity’s project for the store that opened in 2022 in South Korea. A space conceived as a laboratory in which to combine the minimalism of cold stainless-steel furniture, the shape of which recalls lab tables, with playful blue paint. An open cabinet serves both as a space divider and storage for vases and tools for DIY bouquets. “We want the public to enjoy experimenting by touching and selecting flowers freely.

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Photos Yichen Ding; Dirk Weiblen; Yongjoon Choi

Exquisite, tasteful and brilliant — Three adjectives that aptly summarise the philosophy of Mrs Jing, founder of the Absolute Flower Shop in Shanghai. Her creations cross the boundaries between natural and artificial, finding their perfect setting in the project by More Design Office studio: a linear path leading to the large garden at the back of the store. Materials such as steel and the neutral colour of concrete play with the historical location and the eclectic floral arrangements. moredesignoffice.com

VIEW [October 2022]

146 NEW WAVE. Design by the masters, new materials and optical motifs. From cultured quotes and pop influences, architect Luciano Giorgi reinvents a Milanese residence.

160 IN PARIS. In the home of François Laffanour, founder of Galerie Downtown.

172 DESIGN STORIES. Relaxation corners and passepartout furniture tell new ways of defining the domestic space. With fluid signs, essential volumes and graphic details.

180 AUSTRAL EUROPE. In Sydney, the elegance of the Old World. In an Art Deco architecture with neutral colours, classic decor, art, and mid-century design. 190 AT THE EDGE OF THE WORLD. A New Zealand lodge unveils its twofold spirit: on one hand it camouflages itself as to almost disappear, while on the other, it strongly draws attention.

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NEW WAVE

Design by the masters, new materials and optical motifs.

From cultured references to pop influences, architect Luciano Giorgi reinvents a Milanese residence

by Francesca Benedetto — photos by Andrea Ferrari

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The living room overlooking the garden of the BBPR complex in the hearth of Brera. Camaleonda sofas

by Mario Bellini, B&B Italia; Elettra armchair, BBPR design, Arflex. Fasce Cromate table; Porcino and Mikado lamps (from Galleria Luisa Delle Piane); all by Luigi Caccia Dominioni for Azucena. Piazza Scala tray by Fabio Novembre for Driade. Coffee table by Barber & Osgerby, B&B Italia. ‘Radical Writings’ artwork by Irma Blank, Gallery P420. Opposite page, the original 1960s building’s spectacular ellipsoidal staircase.

The living room reflected in the diptych ‘Transcriptions’, 1975, by Irma Blank, who also created the piece at the back, ‘Radical Writings’ (Gallery P420). The butter-hued walls match the glossy ceilings and the afrormosia parquet, laid in a diagonal herringbone. Camaleonda sofas by Mario Bellini, B&B Italia, and velvet Elettra armchairs by BBPR design, Arflex. Ceiling lights by Johanna Grawunder, Flos.

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Blue and red oblique lines create optical patterns inspired by the art of Kenneth Noland and decorate the penthouse hallway, which is accessed via the sculptural staircase in the dining room. Opposite page, over the bespoke table in green Guatemala marble, 1960 brass pendants

by Afra and Tobia Scarpa for Flos (from Spazio RT). Catilina Chairs by Caccia Dominioni for Azucena, B&B Italia. On the wall, glowing artwork

by Nanda Vigo, 2005, Galleria Luisa Delle Piane.

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The kitchen, a tribute to the 1960s and 1970s, is an enamelled green box that picks up the green Guatemala marble in covering the walls and floor. The 1960s stainless steel bar table is custom made like the rest of the furnishings; surrounding it are stools by Kazuhide Takahama for Cassina. On the wall, diptych by Landon Metz (Galleria Francesca Minini). Like spectacular craters on the ceiling, Uso Boob lights and, on the countertop, Copycat lamp by Michael Anastassiades, all from Flos.

Left from the top: architect Luciano Giorgi, responsible for the project; the jagged façade of the building designed by BBPR in 1968. The penthouse study, with the blue Klinker flooring that from the balconies carries on inside, is a tribute to Master of Design: desk and table lamp from the ‘Arco’ collection (Olivetti Synthesis 1962, Galleria Luisa Delle Piane) and Elettra chair by Arflex, all from BBPR. In the bathroom, polished steel washbasin by Philippe Starck for Rapsel. Opposite page, homeowners Annamaria and her father Sergio, creative director of Antonini Milano. In the background, bespoke steel shelf, artwork by Mandla Reuter, courtesy Galleria Francesca Minini.

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A stone’s throw from the Brera academy and Milan’s La Scala, in a green setting among ancient cloisters and monumental buildings, we discover a surprising series of famous architecture.

Buildings designed by Vico Magistretti, Luigi Caccia Dominioni and Marco Zanuso, among others. Along this axis lies a residential complex with jagged volumes, consisting of three twin buildings designed by BBPR studio in 1968, which is considered one of Milan’s most iconic ones of the post-war period. The two-level penthouse inhabited by Annamaria, a student at the Polytechnic who’s passionate about art and architecture, and her father Sergio Antonini, creative director of the historic Antonini Milano jewellers, overlooks a garden of centuries-old plane trees. To update the space, the homeowners relied on architect and friend, Luciano Giorgi, who planned a renovation respectful of the context’s outer shell through and ongoing dialogue with the clients. “They felt a desire for an authentic Milanese home that exuded a tidy composure and measured informality, and interiors that referenced, albeit in a contemporary language, the building’s exterior”, says the architect. “After eliminating the traces of a simple 1980s remodel, we wanted to widen the spaces to make them more fluid, choosing materials consistent with the era of the building”. The floorplan is divided into multifaceted shapes, all different and opening onto the balconies, surrounding a central volume that contains the spectacular stairwell. At the entrance, after a game of screens that separate the rooms, we find ourselves in the living room, where large windows frame the fronds of ancient trees. The butter-hued walls, the glossy ceilings in the same shade and the herringbone parquet flooring exude humble elegance. Heroes of the conversation area are the Camaleonda leather sofas designed by Mario Bellini and the noisette velvet Elettra armchairs by BBPR. Timeless furnishings naturally coexist with artworks collected over time: pieces by Italian artists such as Carla Accardi, Giulio Paolini and Enrico Castellani, albeit with some exceptions, from Irma Blank to Landon Metz and Mandla Reuter. “The design of the whole house”, continues Giorgi, “is the outcome of a specific journey of chromatic and stylistic research.

Starting with the Master of Design, and with the support of the Galleria Luisa Delle Piane, I sought a dialogue with the bespoke works creating a continuum with the aesthetics of those years”. The glowing wall piece by Nanda Vigo is attention-grabbing in the dining room and the custom-made Guatemala green marble table match the colour of the kitchen floor and the dense, enveloping paint used on the walls and ceiling. A tribute to the mood of the 1960–70s, with the Metz diptych reflecting against the surface of the steel bar table. “The project plays with the rejection of a single language, with environments with minimalist geometries, mingling with pop elements”, explains the architect. The sleeping quarters with three rooms are distinguished by the choice of traditionally Milanese materials and colours: from Klinker tiles in green and blue shades, to black Marquina and Carrara white marble for the walls and floors in the bathrooms. The custom-made sculptural staircase leads from the dining area to the upper floor conceived as a true “chromatic tornado”, concludes the architect. “An ‘apartment within the apartment’ with kitchenette, relaxation area and a study, all connected to the green balconies curated by landscape designer Marco Bay. From the outside, the Klinker flooring carries on inside, creating an optical pattern against the blue and fiery red of the walls, furnishings and curtains”. The final result is a project consisting of references and mentions that doesn’t shy away from demonstrating a mature unconventionality as well as an intense personality. —

“Developed through a dialogue with the homeowners, the project’s interiors reference the materials and character of the BBPR building” Luciano Giorgi

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Bold choices in an ensuite bathroom covered in two shades of Klinker tiles (Agrob Buchtal) and black Marquina marble. Montecatini washbasin by Rapsel and taps by Mamoli, all designed by Gio Ponti. Opposite page, in the master bedroom, walls and ceiling are painted deep blue like the glossy laminate chosen for the furnishings with walnut trim. Curtains, headboard and bedspread made of Blazer linen by Dedar. On the late 1800s bedside table, Patroclo glass lamp by Gae Aulenti, Artemide, and ‘Superficie bianca’ work on paper

by Enrico Castellani, 1969.

The penthouse’s relaxation area matches the blue and red of the slanted lines spreading to curtains, walls, ceilings and furnishings.

Bespoke sofa upholstered in No Excuses wool cloth by Dedar.

Opposite page, the Klinker flooring of the building’s top floor balcony carries on inside, into the kitchenette.

Polished blue laminate and stainlesssteel bespoke furniture. In the foreground, Love chrome lamp

by Willy Rizzo, 1968. In the background, artwork on paper by Carla Accardi and, on top of the wall units, a collection of Murano vases.

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IN PARIS, IN MY GALLERY HOME

by Ana Cardinale — photos by Adrien Dirand

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François Laffanour’s new Parisian flat: at the entrance, ‘Signal lumineux’ by Serge Mouille, an African wood sculpture and, on the wall, ‘Néon défilant’ by Jenny Holzer. In the background, a work by Patrick Raynaud.

Desk by Perriand and Jeanneret. Opposite page, the gallerist next to ‘3 bras’, a sculpture by Vassilakis Takis.

On the floor, stool-table by Le Corbusier. On the left, a glimpse of a work by Richard Serra. Laffanour, author of ‘Downtown Style’ (edited by Skipa), presents Steph Simon’s solo exhibition from 15/10. galeriedowntown.com

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In the large living room bathed in light, the two modernist Visiteur armchairs

by Jean Prouvé, left, flirt with the seat by Josef Hoffmann, in the foreground. In the centre, the Torino stool by Prouvé.

To the left of the fireplace, the ‘Signaux’ sculptures by Vassilakis Takis.

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From Jean Prouvé to Charlotte Perriand; from Thomas Struth to Jeff Koons. Museum pieces in the Laffanour house The apartment that François Laffanour, founder of the Parisian Galerie Downtown, has arranged for himself and his family is a Haussmann building at the heart of Saint Germain des Près. The interiors are brimming with artworks and collectible design, however, despite the museum pieces, the atmosphere is warm and welcoming. “My existence has always been marked by moving and new houses. Each mirrored that phase in my life. Nowadays, I’m lucky to spend most of my time in Normandy, on a large property that will soon turn into an avantgarde place for art. To return from the country and find myself in Paris again, in a house with a garden, like the one I lived in, didn’t make sense anymore.

Therefore, I chose a more traditional space”. From room to room, a series of volumes open to one another, with parquet flooring, mouldings and marble fireplaces, in a kind of gallery with a spectacular perspective effect, lit up by high windows and white, uniform walls, as not to disturb the spirit of the place. The homeowner’s curiosity and taste are expressed in a blend of art and design that surround a collection of furniture by the great masters such as Perriand, Jeanneret, Prouvé and Royère, of whom Laffanour is currently a leading specialist, having begun to deal with them almost 50 years ago. Rising at dawn to cut his teeth at the Paul Bert-Sarpette market in Saint-Ouen, while gaining experience until he

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turned the page and opened the Downtown gallery — at the end of the 1970s – then located in rue de Provence, a few steps from the Drouot auction house; in the 1980s the headquarters moved to rue de Seine, on the left bank, next to the great Parisian antique dealers. “There, I began to display the yet obscure furniture of 20th century architects. I was also the first to hire a scenographer, Jean de Piépape, to set up my stands at fairs”. An age-old and authentic passion that Laffanour has always enjoyed gracefully, as he still denies being a true collector despite living surrounded by masterpieces. Furniture, objects and works of art prove it.

Amongst them, the large table designed by Charlotte Perriand and Jean Prouvé is a standout at the centre of the living room; it came from the Maison de l’Etudiant library in Paris. “In my previous home, it was in the cellar; it didn’t fit in any of the rooms, and this was one of the reasons that led me to move”, the gallerist smiles. Just next door, in the living room, a comfortable velvet sofa designed by Jean Royère flirts with Prouvé’s modernist armchairs. Same atmosphere in the bedroom, where a Noguchi lamp and a Pierre Jeanneret armchair make a delicate break from the classic charm of the architecture. This is how it is today; tomorrow is anyone’s guess. “The furniture and objects change continually, and the house must always embody a different look”. —

In the dining room, a glimpse of the table by Charlotte Perriand and Jean Prouvé. On the wall, a work by Thomas Ruff. Next page, in the bedroom, a detail of Perriand’s console table with a lamp by Noguchi. Stools by Prouvé and Le Corbusier. In the kitchen, on the wall, ‘Green railroad bridge Tokyo’ by Thomas Struth. Above the door, sculpture by Masakatsu Iwamoto, aka Mr.

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Another view of the dining room in which Charlotte Perriand and Jean Prouvé’s large table dominates the space. Equipped with an integrated lamp, it was designed for a library.

Around it eight Direction chairs

by Prouvé. At the foot of the fireplace, the ‘Chien’ sculpture is by Jeff Koons. Here, as in the other rooms, the floor is an old oak parquet laid in a herringbone pattern.

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On the kitchen door, on the wall, sculpture by Masakatsu Iwamoto, aka Mr. Opposite page, in the living room ‘Double Rift’ by Richard Serra, at the sides two sconces by Charlotte Perriand. Ours Polaire velvet sofa by Jean Royère. On the coffee table by Pierre Jeanneret, next to it, rests a lamp by Richard Texier. Stools by Le Corbusier and Perriand.

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At the entrance, ‘Robespierre’, a work by Korean artist Nam June Paik, father of video art.

Opposite page, in the bedroom, to the left, behind the Lounge armchair by Pierre Jeanneret, lamp by Isamu Noguchi, as well as the small table next to the bed, on which rests a Richard Texier’s lamp. On the right, stool by Charlotte Perriand.

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DESIGN

STORIES Relaxation corners and passepartout furniture tell new ways of defining the domestic space. With fluid signs, essential volumes and graphic details

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Stylish relaxation. The Standalto sofa by Francesco Binfaré for Edra is modular and super comfortable is. With a smart cushion, the back and armrests can be adjusted with a simple, light pressure (edra.com). Irregularly shaped Roche rug

by Hanne Willmann for Calligaris (calligaris.com). Around it, three lamps illuminate the space. In the foreground, Claritas by Vico Magistretti in collaboration with Mario Tedeschi, and o n the right the extra slim Fox by Bernhard Osann, both produced by Nemo (nemolighting.com). Left, beyond the sofa, the brand new, jointed Ixa lamp by Foster+Partners for Artemide (artemide.com).

Japanese mood. Two pieces designed by Jean-Marie Massaud for Poliform are the heroes of the shot. In the foreground, the solid wood Nara console table, stained matte elm, and in the background the Aiko sideboard, which appears floating on light feet. Inside, shelves with integrated lighting and drawers for storing objects (poliform.it). I Flessi ceramic vases created

by Francesca Verardo (francescaverardo.com) and Shades lamps by George Sowden for Sowdenlight (sowdenlight.com).

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Disco Pop. Donald, crystal coffee table by Philippe Starck for Glas Italia, available in three sizes and twelve colours (glasitalia.com). The tablecloth comprised of small mirror mosaics by artist Davide Medri (davidemedri.it) is sinuous, and partially covers the iridescent Beetle pouf by Verner Turroni for ImperfettoLab (imperfettolab.com). Right, Croma lamp by Luca Nichetto for Lodes. In four finishes, measuring 186h cm (lodes.com). Precious stitching defines the Twiggy armchair

by Rodolfo Dordoni, designed for Minotti (minotti.com).

Natural effect. Surrounded by the green of the Lapse rug from the Tempore line, designed by Duccio Maria Gambi for cc-tapis (cc-tapis.com), is the ash wood Karin armchair by Setsu & Shinobu Ito for Désirée, with back made of woven leather cord (desiree.com). The project by Panter & Tourron for Cappelini is called Apartment Lamp, with adjustable LED lighting and metal structure (cappellini.com). Adam coffee tables by Marcel Wanders Studio for Natuzzi Italia.

Organic shape, natural ash wood, available in three sizes and heights (natuzzi.com).

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Extra white. Large Roma table by Monica Armani for Turri. Made of monochromatic lacquered wood, it has rounded corners and cylindrical legs. Measures: 240 or 280 cm (turri.it). Above, Doodle vase by Maya Leroy for Sem Milano (sem-milano.com), Oort lamp designed by Jacopo Roda for FontanaArte. A flexible and luminous tube generates infinite composition possibilities; pictured, the table version (fontanaarte. com). Hanging, the Veil chandelier with eleven arms by BIG, Bjarke Ingles Group for Artemide (artemide.com).

Designer accessories. Maori is a small wall-mounted console table designed by Essetipi for Porada. A slender pewter grey metal structure supports the Canaletta walnut wood top (porada.it). Left, Rondo mirror by Oskar Zieta, on sale at Rossana Orlandi, diameter 120 cm (rossanaorlandi.com), and Palloncino lamp by Franco Raggi for Firmamento Milano. Painted steel stem and metallised borosilicate glass sphere. Height 185 cm (firmamentomilano.com).

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Night & Day. Marty bed with wide headboard by E-ggs for Bolzan Letti, with side shelves and fabric covering (bolzan.com).

Pure cotton satin sheets and pillowcases from the Lounge series

by Rivolta Carmignani (rivoltacarmignani.com); milk white cashmere fringed small blanket, Pure, by Frette (frette.com).

Wicker armchair T.54 by Archivio Storico Bonacina produced

by De Padova, now in outdoor version available in Terracotta red and Eucalyptus green (depadova.com). On the floor, Roche rug by Calligaris.

AUSTRAL EUROPE In Sydney, the elegance of the Old World. In an Art Deco architecture with neutral colours, classic decor, art, and mid-century design words by Marzia Nicolini – photos by Felix Forest/Living Inside in collaboration with Flavia Giorgi

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Between the arches defining the rooms, under the plaster-decorated ceilings runs the living room. Soriana leather sofa by Afra and Tobia Scarpa, Cassina, and a white a vintage sofa; the swivel armchair is by Milo Baughman, the coffee table by Charlotte Perriand, Cassina. Floor lamp by Isamu Noguchi, Vitra, hanging chandelier

by Serge Mouille. Opposite page, 1950s chair and artwork by Aida Tomescu.

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Devoted to reading, the relaxation room offers the comfort of prototype armchairs

by Pierre Augustin Rose. Iconic, the Ptolomeo bookcase by Bruno Rainaldi for Opinion Ciatti. Next page, the dining room, where the Africa table by Scarpa for Maxalto and Cuoio chairs by EOOS for Walter Knoll take centre stage. On the wall, still life by Felix Forest and artwork by Sadhbha Cockburn.

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A favourite room of the owner, a passionate cook, the kitchen is equipped with walnut furniture; marble countertops and brass details add a touch of classicism.

Next page, the snack corner consists of a leather bench and a Tulip table by Saarinen, Knoll. Also here, in its wall version, a lamp

by Serge Mouille. Photo by Felix Forest.

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From the top floor windows, the view glides over a row of Victorian terrace houses and an uninterrupted expanse of rooftops and chimneys. Inside, the height of the three-point-thirty metre ceilings is celebrated with stuccoes and ceiling roses that follow the curved archways framing the openings between rooms. Everything is imbued with a sense of calm and a feeling of déjà vu, which this European traveller on a first trip to Sydney finds unexpected. Memories of Parisian views and classic interiors, elegant and bright, come to mind. The owner confirms: “I’m French, so in this landscape, in these rooms, I feel at home”. Nostalgia and an appetite for new experiences compensate one another in the story that Felix Forest, an international photographer of architecture and interiors, shares and describes in the suburb of Harbourside, in Elizabeth Bay: “It’s a lively area, filled with cafes and trendy restaurants, tree-lined streets and magnificent parks alongside the beach. Our home is inside a 1917 building, one of the three oldest Art Deco structures in the area”.

Enchanted by the stile’s elegant lines, he and his wife Edwina — creative director and cofounder of the AJE fashion brand — purchased two adjacent lots to create a single apartment. A complex renovation, which had to make sense and give balance to the new layout, but also undo the damage of past upgrades that had deprived the place of its soul. A creative project that engaged and excited the couple. “We wanted to preserve the unique characteristics of the Deco aesthetic, the breadth of the scale, the mouldings and the stuccoes, the bay windows, the relationship with the natural light. While simultaneously imbuing a contemporary sensibility”. The idea was to create an airy space in which to feature paintings and sculptures, antiques and design pieces collected during years of travel and working overseas. The chromatic range of neutral shades envelopes the surfaces and widens the interiors, covering the soft shapes of the upholstery and connecting timber, hide and leather. “We’re both passionate about art and mid-century design, specifically of Italian, French and Scandinavian origins. We wanted to create a special canvas, a tonal and tactile backdrop against which each individual piece could be featured on its own, while also interacting with the others. Thus, we have chosen paints with opaque finishings, which are ideal for capturing light rather than reflecting it, and coarse textures on the walls and archways of most rooms. It is the perfect setting in which to celebrate mainly unframed artworks and second-hand furniture whose life predates us, and which we hope will live on after we have passed them along”. In the morning sun the furnishings in the easternfacing rooms come to life. The south-facing day area provides cool summer afternoons. Because here, while the charming style keeps playing its part, the sun reminds us that we are on the opposite side of the planet. —

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“The charm of the period house, the breadth of scale and the relationship with natural light won us over” Felix Forest

Elegant and austere is the mood of the studio, which combines a rosewood desk and sideboard by Gunni Omann for Omann Jun, illuminated by Claus Bonderup & Torsten Thorup’s pendant. On the furniture, works

by Shannon Smith and Rachael Harrex. The restored wooden floors are original throughout the house. Opposite page, the homeowner Felix Forest, photographer, with his daughter Freïa Moon.

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Uniform surfaces for the bathroom, where the tactile Tadelakt cladding, chosen in a light shade, illuminates the whole room, with custom-made furniture designed by Felix Forest. Opposite page, the master bedroom, connected to the study by an archway. On the bed by Gervasoni, the small blanket is by Society. The rug, designed by the owners, was made by Fyber.

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New Zealand, South Island: two juxtaposed volumes make up a family home nestled in the landscape. The concrete tower, on the left, looks like a rock rising out of the ground and from the bedroom, upstairs, it ensures a 360° view of the surrounding landscape.

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AT THE EDGE OF THE WORLD A New Zealand lodge unveils its twofold spirit: on one hand it camouflages itself as to almost disappear, while on the other, it strongly draws attention words by Paola Maraone — photos by Simon Wilson

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The Queenstown area, where the house stands, is dominated by a luxuriant nature, at times wild, in which the part of the building topped by the green roof almost disappears. Next page, in the living room, floor-to-ceiling windows amplify the dialogue with the landscape.

The simple but comfortable straw armchairs are inspired by the traditional chairs of the Orkney Islands.

The kitchen, a single large room, is the heart of the house. On the ceiling, cedar wood used for beams and panelling conveys a sense of warmth and simplicity, accentuated by neutral hues and natural materials; on the walls, rough plaster recalls the exterior finish.

Rocks formations and emerald hills, bodies of water and volcanoes. Suddenly, a green architecture appears between the lake and mountains. New Zealand: we’re in Queenstown, in the southernmost part of the South Island, among the evocative scenery of the Southern Alps. A paradise for nature lovers and a starting point for strategic excursions where, in recent years, a family from the North Island dreamt to establish its second home. “The process hasn’t been straightforward”, explains Tim Hay, who designed the architecture in collaboration with Jeff Fearon. “To begin with, the customer spent time exploring and getting to know the area. Later on, the planning took a year and a half, the actual build another two years”. The outcome bears the evocative name of Matagouri Lodge (the same of a thorny, endemic plant in the area) and “was conceived by ongoing conversations with the client, with whom we cocreated a narrative concept. For them it was important to use natural materials and warm hues, starting with understanding the place where the house would be built, the colours, the vegetation; the final objective was to add the landscape’s colours and textures inside the architecture”. And here it is: a building that is mostly structured horizontally, covered by a green roof in order better insert itself into the surrounding environment. Laterally, a vertical concrete volume emerges from the soil almost like a rocky outcrop, attracting the gaze. “We didn’t want the building to disappear completely. Instead, we wanted it to be mysterious, mimetic, but with a simple, strong design, a kind of tower rising towards the sky with a panoramic outlook; on the top level, the bedrooms have a 360° view over the lake and mountains”, with a kind of ‘complete freedom’ to counterpoint the – limited albeit generous – possibilities of the spaces below. As for the building, Hay continues to explain, “the initial concept was to create a house that lessened the requirements for steel. The roof features structural timber elements supporting a green cover that mitigates interior temperatures and provides the project with an ecological imprint. For the customer, the use of green materials and strategies to make the entire building sustainable were paramount”. Even the shape of the roof completely blends into the landscape: “We didn’t want to limit ourselves by making a flat roof with plants on top, so we followed the outline of the terrain and the knolls surrounding the house”.

The same criteria apply to the interiors inspired by Shaker culture: minimalist design, function before form, neutral tones, utensils hung on the walls. “The client’s brief was to create a rural cottage”, interior designer Dawdy Brown who worked on the project tells us. An honourable mention goes to “the traditional, high-back chair from the Orkney Islands that stood quietly and reassuringly in a corner of my childhood home and was the inspiration for these interiors. Designed to shelter its inhabitants from any drafts, with golden oat straw bundles tied to a wooden frame, it fully embodies the feeling of craftsmanship and simplicity we dreamed of attaining”. –

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“The process hasn’t been straight-forward.

The planning took a year and a half, the actual build another two years” Tim Hay

Above, the sleeping quarters have windows on all sides for a unique view. Opposite page, above, view from outside the tower that houses the bedroom, clad in weatherproof concrete and bordered by a green roof; below, a glimpse of the en suite bathroom in the master bedroom. Vieques bathtub

by Patricia Urquiola for Agape.

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The private garden is a sheltered courtyard conveying a sense of protection from the wind while catching the sun’s rays. Next page, the roof that plays with the topography by merging with it, on the courtyard side, has a curved edge which softens its profile and introduces the green covering.

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inside–design Soft upholsteries/Versatile designs/Metal touch

Circular economy. Handmade and with a green heart, the carpets and rugs from the Recycled Collection series by Luxury Carpet Studio. To produce them, the brand led by Vincenzo Solenne has chosen Econyl®, an innovative synthetic yarn created by the Aquafil group, which comes from the recycling of fishing nets, plastic waste and manufacturing scraps. The results are tailored, refined pieces designed for the residential, hotel, nautical and automotive sectors. luxurycarpet.it

by Tamara Bianchini and Murielle Bortolotto 201

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INSIDE DESIGN/WELLNESS

Autumn colours envelop the furnishings of the bathroom area.

New contemporary version for a faucet of yesteryear [1]

[2]

1. Trama. Designed by Nic Design, the collection consists of a piece of furniture housing a rectangular ceramic washbasin with rounded corners. The vanilla version, pictured, is available in matte or polished finish. The lower shelf accommodates a storage tray. Measures 131x50x85h cm. nicdesign.it 2. Adam, light blue and brown hues on a chevron motif define the pure cotton Missoni Home towel. missoni.com 3. Solo Due, shower tray designed by Officina Azzurra for Azzurra Ceramica, 2 cm thick. Customisable in 22 sizes and shapes on demand. Three finishes: Colors1250°, Le Malteceramiche® and Shine. azzurraceramica.it 4. Stilo, the historical collection by Carimali is revamped and becomes Still-Oh thanks to the designer touch of Guido Nicolini.

A complete line of bathroom tapware (washbasin, bathtub and shower), pictured, in Dark Bronze Matt finish. carimali.it

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[4]

INSIDE DESIGN/PROJECTS

Photos Federico Ciamei

Wallpaper defined by a ‘marker effect’ line. Repeated endlessly, it becomes a decorative motif

Lines and colour. “This collection is inspired by the markers I use for drawing”. This is how Stefan Scholten describes the wallpaper series, The Maker, created for the Dutch brand BN Walls.

To be discovered in the endlessly repeated striped pattern and the choice of blended colours.

Imperfect lines, available in a wide colour palette. stefanscholten.com, bnwalls.com

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INSIDE DESIGN/ KITCHEN

A kitchen system and appliances designed for new ways of living. Hypnotic dishes and hi-tech solutions [1]

[2]

[3]

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1. Update for Ak Project by Arrital. The kitchen system created in 2017 is ever evolving and this year is enriched by Sipario. A new concept with four folding doors, a Tonga wood-effect finish and an operating cooking zone integrated in the steel top. Lighting and hood with remote control elegantly recessed into the structure. arrital.com 2. The Sultan Series, limited edition plates with ‘magnetic’ gold decorations and portraits of exotic faces. An idea by Bertrando Di Renzo for Les Ottomans. les-ottomans.com 3. Combined oven and microwave by V-Zug, distributed by Frigo2000. Black mirror glass with stainless steel ventilated or steam cooking chamber for V6000 45M PowerSteam. frigo2000.it 4. Elements by Falmec is a collection offering solutions designed to meet different needs and built-in types.

Such as Monolith, resting on the worktop, with a 90 cm suction element and storage modules (right and left) that can hold spices, ladles, knives, chopping boards and other utensils. falmec.com

[4]

INSIDE DESIGN/PROJECTS

All-natural look. With floor and wall surfaces in greige shades

Wild is the new collection by Del Conca. Defined by a luminous texture, thanks to the Breccia stone effect.

Available in a range of cold, neutral white and grey hues or warmer beige and greige shades. To be used to cover vertical and horizontal surfaces, available in five formats, 120x120, 60x120, 80x80, 60x60, 30x60 cm, and in two different mosaics. delconca.com

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INSIDE DESIGN/WELLNESS

Innovative pieces to create and furnish the wellness area.

‘Save-the-water’ accessories with shimmering, metallic effects [1]

[2]

1. White-body ceramics for Acquariodue’s Incensum surface line. Pictured, in the wellness room, with Nuvoletta metallic finish. For wall or floor coverings. acquariodue.com 2. Delano is a collection designed by Alessandro Paolelli for Axa. Pictured, the hanging washbasin made of chalk white ceramic. Light and essential, it has a single oval body with a large basin and countertop. Measures 100x46h cm. axaceramica.it 3. Metallic and elegant are the variations of the Blink plaque by

Oli. Available in stainless steel, gunmetal, brushed, black and matte white, polished chrome, but also bronze, gold and light gold. Double flush for intelligent water use. Dimensions 21x14h cm. oli-world.com 4. A state-of-the-art system, Geberit One

by Geberit, to create the wellness area.

A whole space with sanitary fittings, shower and furniture to be installed with simple and studied wall-mounting.

It is completed with the space-saving washbasin. geberit.com

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[4]

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design–book New finishes/Marble design/Views

Photo Federico Torra

Martino Gamper, designercraftsman, during the last Design Week created a playful set-up in Kerakoll’s Milan showroom, interpreting the nuances and finishes of the brand’s Color Collection (150 shades divided into fifteen colour scales). A sophisticated solution that encourages to reinvent interiors, using for example the water-based coloured micro-resin with matte finish, pictured, for floors or coatings. kerakoll.com

by Tamara Bianchini 211 ELLE DECOR

Suitable for the city and elsewhere. Ideas for dividing and arranging spaces with graphic patterns and colour [1] [2]

[3]

[4]

[5]

1. Stopray Vision 72T, stratophone iplus 1.0 by AGC Glass is the glass façade, pictured, chosen by the CMR studio for the new Milanese area The Sign, in the south-west of the city, redeveloped into a business district. agc-yourglass.com 2. Timeless, pure graphic lines for the handle designed by Marco Pisati for Dnd. Made of aluminium, available in nine colours and the brand-new turquoise and dove blue. dndhandles.com 3-4. Urban by Marcel Wanders Studio for Devon&Devon. Large ceramic slabs recalling the layout and history of the city of Florence. Three variations available, 120x240 cm. devon-devon.com 5. Delineo, glass door system from the Scenario line by FerreroLegno. Two fixed and sliding doors made of Flutes crystal, in the Satinato Bianco finish with defining vertical lines. ferrerolegno.com 6. Il Duomo, geometric pattern inspired by the motifs on the steps of Sant’Andrea, the cathedral of Amalfi. Hand-made and decorated by Ceramica Francesco De Maio, it has a non-slip finish in the square format, 53x53x1.2h cm, for indoor and outdoor use. francescodemaio.it 212

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[6]

INSIDE DESIGN/ MATERIALS

A daylight system designed to screen out light.

Furniture and cladding: marble is the hero [1]

1. Screeny 130 GC cabrio S27, a roller blind by KE. A solution for shading and covering doors and windows according to office or living requirements. Made of fabric, available in thirty-four RAL colours. keoutdoordesign.com 2. Cubic is an armchair with a Carrara marble shell designed by Luca Dini for Franchi Umberto Marmi. High technology for homeDesign, with upholstered and padded cushions and wooden feet. fum.it 3. Venice, a new collection by Unicomstarker.

A mix of fragments and stone chips reminiscent of Venetian seminato.

Casalgrande, Giudecca, La Fenice, Murano, Rialto and San Marco are the variations, in square and rectangular formats. unicomstarker.com 4. Modulo.2, matte monochrome by Studio KO (Karl Fournier and Olivier Marty) for Bisazza. Three types of marble are here combined: white Arabescato, white Thassos and golden Calacatta, for bold interiors. bisazza.com

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[2]

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Photo Federico Cedrone

Ad hoc. New pivot system for the Radius door designed by Giuseppe Bavuso for Rimadesio.

A versatile project that allows for full-height concepts. Platinum aluminium structure, Taiga oak wood panel. Also available in Sahara oak and in the forty-eight Ecolorsystem variations.

Or in glossy, matte, reflex, share, diamond, mirror and Litech lacquered glass. rimadesio.it

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INSIDE DESIGN/ MATERIALS

Fine wood doors and full-height windows. From Portugal, handmade tiles in rosy shades 1. Pivot Door, full-height (floor-to-ceiling) panoramic glass door with black painted aluminium frame and transparent glass.

Pictured, the door as part of a project in Roccamare (GR) by Net Studio. sky-frame.com 2. PerfectSense, painted wood panel with Feelwood finish, which creates a veined pattern; the surface is fingerprint resistant. Designed to clad furniture in four oak variations, also available in elegant chestnut and black. egger.com 3. Mar D is the new proposal by Studiopepe for Theia. A Portuguese brand producing hand-made ceramic tiles. Pictured, Mar, Mar di Flores, Mar di Giava with unexpected pink hues. theiatiles.com 4. Eikon EVO, threemodule plate by Vimar. Made of total white backlit aluminium.

With controls for lighting and unexpected views. vimar.com 5. Wall&door, linear boiserie with panels and Filo55 hinged door by Lualdi. Available in fine woods or glossy, matte lacquered essences, also in leather or fabric. Pictured, the fossil black version. lualdiporte.com

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[2]

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Photos Pietro Savorelli

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Total black on surfaces and accessories, for a stylish renovation of the spaces [2] [1] [3]

[5]

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[6]

[7]

Photo Lorenzo Pennati

1. Tiles (R)evolution. The encounter between Seletti and Ceramica Bardelli gives rise to a capsule collection of surfaces for floors and walls. Pictured, Distortion, total black porcelain stoneware with a super matte finish. ceramicabardelli.com - seletti.it 2. Carmen by Valli&Valli, handle with fluid lines. Made of brass, with four finishes for a strong grip. vallievalli.com 3. Moove Urban by Déco. Wooden modules for walls and false ceilings. In four finishes: wood, black and pure white.

A water-repellent protective film allows its use also in the bathroom and kitchen. decodecking.com 4. PA059, coat stand by Studio Architetti Associati Marelli&Molteni for Pamar, painted matte black. pamar.com 5. Arrow, from the Signature line by Woodco. 45x45x1,4h cm for different laying patterns (Italian herringbone, linear, squares or carpets).

Brushed Slovenian oak. woodco.it 6. FIN-Slide by Finstral. Sliding door with super slim profile, 6 cm.

Maxi size for more light. finstral.com 7. Vivienne

by Palazzetti. Ecofire® pellet stove. Hermetic, with tempered glass door. Sides available in mocha, black and white. Connection Box for control via smartphone or voice commands. palazzetti.it

INSIDE DESIGN/ MATERIALS

A play of surfaces Total Biglass is an all-glass solution with a metal finish. The hinged door is made of transparent glass, with a Brown frame and Playa handle. The frames can also be chosen in gold, slate, eve and rose variants.

The project is completed by the Segno Boiserie, with Onda pantograph in an earth oak finish. garofoli.com

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Natural materials to be combined with smart and innovative systems [1]

[2]

[3]

1. Illume vinyl flooring collection from Quick-Step. Eight decorative patterns for horizontal surfaces that are easy to install and have a velvety, waterproof touch. Concrete, stone with shells or pebbles effect. quick-step.co.uk 2. Next-Elettra, Dierre High-Tech Line security door. Thermal and acoustic insulation. Combined mechanical and automatic opening with access control via smartphone with myDoor App, and Key-Less Bluetooth connection system. dierre.com 3. Cortina by Favorita is a granite of Brazilian origin.

The colour ranges from cream to beige with rust or black hues with quartz details. Durable material and particularly suitable for kitchen countertops. granitifavorita.com 4. Frangisole by Oknoplast. A system of adjustable aluminium louvres, with a Somfy motor, positioned externally to manage sunlight and protect windows from atmospheric agents as well as guaranteeing privacy. Twenty colours for small and large windows. oknoplast.it 5. Olmo de Casera by Cadorin. Italian elm wood large-size planks, with raw brushed effect finish. From 230 to 300 mm, available in three thicknesses. cadoringroup.it

[4]

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INSIDE DESIGN/ MATERIALS

Special products manufactured from a sculptural material.

And ideas for original decorations [1]

[2]

1. AWS75.SI by Schüco. Aluminium window system included in the residential project designed by Melchiorre Bega in the Isola area of [3] Milan, now redeveloped as AlseriO 10 by Asti Architetti. A system with specific characteristics, durability, design and temperature insulation. schueco.it 2. Iride, a marble module with a metal frame, for interiors, used to assemble walls or partitions. The decorative, rhythmic slits filter the light. 121x121 cm, available in the following marbles: Bardiglio nuvolato, pictured, Verde imperiale and Carrara ghiaccio. lithosdesign.com 3. Ipogeo®Sisma Zebrato, a line created by the researcher of Margraf Innovation Lab. Marble becomes the protagonist on floors, walls or furnishings. In the Palus, Pagos, Origo, Sisma and Metamorfosi finishes. margraf.it 4. Dioscuri, from the Domus Pompeii series designed by Roberto Sironi. Small table made up of three superimposing fluted column sections. Rima marble (a combination of alabaster plaster, water and mineral pigments). robertosironi.it 5. Heritage Luxe by Florim. Porcelain stoneware inspired by marble slabs, in four formats. Also available in larger size and in different thicknesses. florim.com

Photo Daniele Domenicali

[4]

[5]

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Space, time and perception.

‘Olafur Eliasson: Nel suo tempo’ (Olafur Eliasson: in your time) is the result of research work begun six years ago. In this fundamental solo exhibit at Palazzo Strozzi, the artist establishes a dialogue between his best-known works (pictured, ‘How do you live together?’, 2019), site-specific projects and visitors.

Until 22/1/2023. palazzostrozzi.org

n.b.

October — Exhibitions, events and openings. The best of contemporary art and new expressions in Italy and Europe

Photo Anders Sune Berg, © Olafur Eliasson

by Piera Belloni

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N.B. OCTOBER

Luigi Ontani, ‘Dante’, 1972. In Paris

Richard Avedon, ‘Dovima with elephants’, evening dress by Dior, Cirque d’Hiver, 1955. In Milan

© Rome, Fabio Sargentini, Archivio L’Attico © Luigi Ontani - © The Richard Avedon Foundation Photo Gabriele Tocchio, Courtesy Archivio Nanda Vigo - © JR, Iris Hesse, Ullstein Bild, Roger-Viollet, Berlin, Germany, 2018

Archivio Cesare Cattaneo.

In Cernobbio (CO)

Italian authors in Paris — Opening on 11/10 at the Jeu de Paume, ‘Renverser ses yeux’ traces the history of Arte Povera from 1960 to 1975.

The title is taken from a project by Giuseppe Penone, ‘Rovescire i propri occhi’, on show together with works by Ontani, Griso, Jodice, De Dominicis, among others. Created in collaboration with the Triennale, it will be in Milan in 2023, until 29/1/2023. jeudepaume.org Itineraries in Lombardy — The second edition of ‘inTOUR. Design, artists, Made in Italy’ is on schedule from 21 to 23/10: for three days, places with restricted access such as ateliers, artists’ and architects’ archives and business museums will be open to the public. It includes 13 itineraries, in Milan, Bergamo, Brescia, Como, Pavia, Varese and their provinces. Info on museocity.it Photography in Milan — More than 100 fashion photos and portraits make up ‘Richard Avedon. Relationship’, at Palazzo Reale until 29/1/2023. The author’s career is retraced with 10 thematic sections, including one that illustrates his fruitful collaboration with Gianni Versace. avedonmilano.it Art Fair in Verona — From 14 to 16/10 ArtVerona, a great kermesse with 134 participating galleries, opens to the public at Veronafiere. Among the novelties is the Habitat section, presenting immersive spaces by great Italian artists such as Ugo La Pietra, Nanda Vigo, Marina Apollonio, and Luciano Fabro. This year, the Red Carpet that welcomes visitors is designed by Stefano Arienti. artverona.it Retrospective in Munich — Street artist or ‘photograffeur’, as he calls himself, JR takes centre stage at the Kunsthalle in the Bavarian capital, until 15/1/2023. For his works, a form of public outcry and urban regeneration interacting with architecture, the author uses several media, like photos, videos and gigantic collages. kunsthalle-muc.de

Nanda Vigo, ‘Genesis’, installation at Palazzo Crivelli, 2007, Calvi Volpi Gallery.

In Verona

JR, ‘Giants’, Brandenburg Gate, Sept 27th 2018. In Monaco 223

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