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SelgasCano designed La Canteen in the heart of the Design District in London, a project completed in 2021. Together with Matteo Ruta, Professor at Politecnico di Milano, we explore an architecture that brings together elements typical of both art and industrial design: transparency, lightness and an original way of engaging perception.
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SelgasCano firma La Canteen, nel cuore del Design District di London: un progetto completato nel 2021. Con Matteo Ruta, professore del Politecnico di Milano, scopriamo un’architettura che pone al centro elementi tipici anche dell’arte e dell’industrial design: trasparenza, leggerezza e stimolazione della percezione in modo originale.
@selgascano #architecture #art #designdistrict

#adv The Macao modular system, designed by Maurizio Manzoni for Cantori, is a perfect example of aesthetics and function coexisting on an equal footing. The design interprets the workspace as an elegant and coherent landscape, where each element contributes to the overall unity. The bookcase, desk and chair are not standalone pieces, but integral components of an integrated system that plays with rhythm, materials and proportions. The bookcase's modular design introduces flexibility and architectural lightness, while the desk defines a refined, textural workspace. The chair completes the ensemble with its discreet, functional presence. This balance is ideal for professional environments seeking to embrace the quality of a living space.⁠
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Estetica e funzione convivono senza gerarchie nel sistema modulare Macao, disegnato da Maurizio Manzoni per Cantori. Il progetto interpreta il workspace come un paesaggio coerente ed elegante, in cui ogni elemento contribuisce a costruire un’unica visione d’insieme. Libreria, scrivania e seduta non sono arredi isolati, ma parti di un sistema integrato che lavora su ritmo, materia e proporzione. La modularità della libreria introduce flessibilità e leggerezza architettonica, la scrivania definisce uno spazio operativo raffinato e materico, mentre la seduta completa l’insieme con una presenza discreta e funzionale. Un equilibrio pensato per ambienti professionali che vogliono avvicinarsi alla qualità del living.⁠
@cantori_spa

#adv The Macao modular system, designed by Maurizio Manzoni for Cantori, is a perfect example of aesthetics and function coexisting on an equal footing. The design interprets the workspace as an elegant and coherent landscape, where each element contributes to the overall unity. The bookcase, desk and chair are not standalone pieces, but integral components of an integrated system that plays with rhythm, materials and proportions. The bookcase's modular design introduces flexibility and architectural lightness, while the desk defines a refined, textural workspace. The chair completes the ensemble with its discreet, functional presence. This balance is ideal for professional environments seeking to embrace the quality of a living space.⁠
//⁠
Estetica e funzione convivono senza gerarchie nel sistema modulare Macao, disegnato da Maurizio Manzoni per Cantori. Il progetto interpreta il workspace come un paesaggio coerente ed elegante, in cui ogni elemento contribuisce a costruire un’unica visione d’insieme. Libreria, scrivania e seduta non sono arredi isolati, ma parti di un sistema integrato che lavora su ritmo, materia e proporzione. La modularità della libreria introduce flessibilità e leggerezza architettonica, la scrivania definisce uno spazio operativo raffinato e materico, mentre la seduta completa l’insieme con una presenza discreta e funzionale. Un equilibrio pensato per ambienti professionali che vogliono avvicinarsi alla qualità del living.⁠
@cantori_spa

#adv The Macao modular system, designed by Maurizio Manzoni for Cantori, is a perfect example of aesthetics and function coexisting on an equal footing. The design interprets the workspace as an elegant and coherent landscape, where each element contributes to the overall unity. The bookcase, desk and chair are not standalone pieces, but integral components of an integrated system that plays with rhythm, materials and proportions. The bookcase's modular design introduces flexibility and architectural lightness, while the desk defines a refined, textural workspace. The chair completes the ensemble with its discreet, functional presence. This balance is ideal for professional environments seeking to embrace the quality of a living space.⁠
//⁠
Estetica e funzione convivono senza gerarchie nel sistema modulare Macao, disegnato da Maurizio Manzoni per Cantori. Il progetto interpreta il workspace come un paesaggio coerente ed elegante, in cui ogni elemento contribuisce a costruire un’unica visione d’insieme. Libreria, scrivania e seduta non sono arredi isolati, ma parti di un sistema integrato che lavora su ritmo, materia e proporzione. La modularità della libreria introduce flessibilità e leggerezza architettonica, la scrivania definisce uno spazio operativo raffinato e materico, mentre la seduta completa l’insieme con una presenza discreta e funzionale. Un equilibrio pensato per ambienti professionali che vogliono avvicinarsi alla qualità del living.⁠
@cantori_spa

#adv The Macao modular system, designed by Maurizio Manzoni for Cantori, is a perfect example of aesthetics and function coexisting on an equal footing. The design interprets the workspace as an elegant and coherent landscape, where each element contributes to the overall unity. The bookcase, desk and chair are not standalone pieces, but integral components of an integrated system that plays with rhythm, materials and proportions. The bookcase's modular design introduces flexibility and architectural lightness, while the desk defines a refined, textural workspace. The chair completes the ensemble with its discreet, functional presence. This balance is ideal for professional environments seeking to embrace the quality of a living space.⁠
//⁠
Estetica e funzione convivono senza gerarchie nel sistema modulare Macao, disegnato da Maurizio Manzoni per Cantori. Il progetto interpreta il workspace come un paesaggio coerente ed elegante, in cui ogni elemento contribuisce a costruire un’unica visione d’insieme. Libreria, scrivania e seduta non sono arredi isolati, ma parti di un sistema integrato che lavora su ritmo, materia e proporzione. La modularità della libreria introduce flessibilità e leggerezza architettonica, la scrivania definisce uno spazio operativo raffinato e materico, mentre la seduta completa l’insieme con una presenza discreta e funzionale. Un equilibrio pensato per ambienti professionali che vogliono avvicinarsi alla qualità del living.⁠
@cantori_spa

#adv The Macao modular system, designed by Maurizio Manzoni for Cantori, is a perfect example of aesthetics and function coexisting on an equal footing. The design interprets the workspace as an elegant and coherent landscape, where each element contributes to the overall unity. The bookcase, desk and chair are not standalone pieces, but integral components of an integrated system that plays with rhythm, materials and proportions. The bookcase's modular design introduces flexibility and architectural lightness, while the desk defines a refined, textural workspace. The chair completes the ensemble with its discreet, functional presence. This balance is ideal for professional environments seeking to embrace the quality of a living space.⁠
//⁠
Estetica e funzione convivono senza gerarchie nel sistema modulare Macao, disegnato da Maurizio Manzoni per Cantori. Il progetto interpreta il workspace come un paesaggio coerente ed elegante, in cui ogni elemento contribuisce a costruire un’unica visione d’insieme. Libreria, scrivania e seduta non sono arredi isolati, ma parti di un sistema integrato che lavora su ritmo, materia e proporzione. La modularità della libreria introduce flessibilità e leggerezza architettonica, la scrivania definisce uno spazio operativo raffinato e materico, mentre la seduta completa l’insieme con una presenza discreta e funzionale. Un equilibrio pensato per ambienti professionali che vogliono avvicinarsi alla qualità del living.⁠
@cantori_spa

Bjarke Ingels presents the next major step in CityLife: the final piece of the masterplan is set to be completed in the coming months. Two office towers connected by a monumental curved roof, with suspended terraces and new urban perspectives.
A project that reshapes Milan’s skyline and opens a new “gateway” to the city.
Read the full interview on domusweb.it
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Bjarke Ingels racconta il prossimo grande passo di CityLife: il tassello finale del masterplan sta per essere completato nei prossimi mesi. Due torri per uffici unite da una copertura curva monumentale, tra terrazze sospese e nuove prospettive urbane. Un progetto che ridisegna lo skyline e apre una nuova “porta” su Milano.
Leggi l’intervista completa su domusweb.it
#citywave #milan @citylifemilano @big_builds @bjarkeingels

There are buildings that carry the name of those who lived in them more than those who designed them. Casa Malaparte is one of these, in the most literal sense possible. It was built between 1938 and 1940 on a cliff thirty-two metres above the sea in Capri, from a difficult encounter between the writer Curzio Malaparte and the architect Adalberto Libera, one of the founding figures of Italian rationalism. The collaboration ended early. Malaparte had ideas too precise to entrust to anyone else. The villa became a hybrid creature: rationalist in its structure, Mediterranean in its soul, personal to the point of obsession.⁠
⁠
The trapezoidal staircase that runs across the roof, the one that seems to land from above rather than climb toward the sky, is not by Libera. It is by Malaparte. It is the most photographed, most cited, most coveted part of the villa. A reversed promenade, leading nowhere except to the view of the sea.⁠
⁠
The house remained private, almost inaccessible for decades, reachable only on foot or by boat. Yet fashion found it anyway, with that instinct it has for identifying places capable of communicating something beyond words.⁠
⁠
In 2014 Ermenegildo Zegna chose it as the set for the launch of the UOMO fragrance. In 2018 Saint Laurent brought Kate Moss: in the spring campaign, directed by Nathalie Canguilhem, the model climbs the staircase as the sea disappears beneath her. In 2019 Louis Vuitton photographed Emma Stone among the red walls and rocks for the Cœur Battant campaign. In 2024, for the first time in the history of the villa, Jacquemus staged a real show: models on the steps, the June sun, three hundred and sixty degrees of pure architecture.⁠
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2, 3. @jacquemus⁠
4 @zegna⁠
5. Domus 605, April 1980⁠
6, 7. @louisvuitton⁠
8. @ysl⁠
#casamalaparte #fashion #set

There are buildings that carry the name of those who lived in them more than those who designed them. Casa Malaparte is one of these, in the most literal sense possible. It was built between 1938 and 1940 on a cliff thirty-two metres above the sea in Capri, from a difficult encounter between the writer Curzio Malaparte and the architect Adalberto Libera, one of the founding figures of Italian rationalism. The collaboration ended early. Malaparte had ideas too precise to entrust to anyone else. The villa became a hybrid creature: rationalist in its structure, Mediterranean in its soul, personal to the point of obsession.⁠
⁠
The trapezoidal staircase that runs across the roof, the one that seems to land from above rather than climb toward the sky, is not by Libera. It is by Malaparte. It is the most photographed, most cited, most coveted part of the villa. A reversed promenade, leading nowhere except to the view of the sea.⁠
⁠
The house remained private, almost inaccessible for decades, reachable only on foot or by boat. Yet fashion found it anyway, with that instinct it has for identifying places capable of communicating something beyond words.⁠
⁠
In 2014 Ermenegildo Zegna chose it as the set for the launch of the UOMO fragrance. In 2018 Saint Laurent brought Kate Moss: in the spring campaign, directed by Nathalie Canguilhem, the model climbs the staircase as the sea disappears beneath her. In 2019 Louis Vuitton photographed Emma Stone among the red walls and rocks for the Cœur Battant campaign. In 2024, for the first time in the history of the villa, Jacquemus staged a real show: models on the steps, the June sun, three hundred and sixty degrees of pure architecture.⁠
.⁠
.⁠
.⁠
2, 3. @jacquemus⁠
4 @zegna⁠
5. Domus 605, April 1980⁠
6, 7. @louisvuitton⁠
8. @ysl⁠
#casamalaparte #fashion #set

There are buildings that carry the name of those who lived in them more than those who designed them. Casa Malaparte is one of these, in the most literal sense possible. It was built between 1938 and 1940 on a cliff thirty-two metres above the sea in Capri, from a difficult encounter between the writer Curzio Malaparte and the architect Adalberto Libera, one of the founding figures of Italian rationalism. The collaboration ended early. Malaparte had ideas too precise to entrust to anyone else. The villa became a hybrid creature: rationalist in its structure, Mediterranean in its soul, personal to the point of obsession.⁠
⁠
The trapezoidal staircase that runs across the roof, the one that seems to land from above rather than climb toward the sky, is not by Libera. It is by Malaparte. It is the most photographed, most cited, most coveted part of the villa. A reversed promenade, leading nowhere except to the view of the sea.⁠
⁠
The house remained private, almost inaccessible for decades, reachable only on foot or by boat. Yet fashion found it anyway, with that instinct it has for identifying places capable of communicating something beyond words.⁠
⁠
In 2014 Ermenegildo Zegna chose it as the set for the launch of the UOMO fragrance. In 2018 Saint Laurent brought Kate Moss: in the spring campaign, directed by Nathalie Canguilhem, the model climbs the staircase as the sea disappears beneath her. In 2019 Louis Vuitton photographed Emma Stone among the red walls and rocks for the Cœur Battant campaign. In 2024, for the first time in the history of the villa, Jacquemus staged a real show: models on the steps, the June sun, three hundred and sixty degrees of pure architecture.⁠
.⁠
.⁠
.⁠
2, 3. @jacquemus⁠
4 @zegna⁠
5. Domus 605, April 1980⁠
6, 7. @louisvuitton⁠
8. @ysl⁠
#casamalaparte #fashion #set

There are buildings that carry the name of those who lived in them more than those who designed them. Casa Malaparte is one of these, in the most literal sense possible. It was built between 1938 and 1940 on a cliff thirty-two metres above the sea in Capri, from a difficult encounter between the writer Curzio Malaparte and the architect Adalberto Libera, one of the founding figures of Italian rationalism. The collaboration ended early. Malaparte had ideas too precise to entrust to anyone else. The villa became a hybrid creature: rationalist in its structure, Mediterranean in its soul, personal to the point of obsession.⁠
⁠
The trapezoidal staircase that runs across the roof, the one that seems to land from above rather than climb toward the sky, is not by Libera. It is by Malaparte. It is the most photographed, most cited, most coveted part of the villa. A reversed promenade, leading nowhere except to the view of the sea.⁠
⁠
The house remained private, almost inaccessible for decades, reachable only on foot or by boat. Yet fashion found it anyway, with that instinct it has for identifying places capable of communicating something beyond words.⁠
⁠
In 2014 Ermenegildo Zegna chose it as the set for the launch of the UOMO fragrance. In 2018 Saint Laurent brought Kate Moss: in the spring campaign, directed by Nathalie Canguilhem, the model climbs the staircase as the sea disappears beneath her. In 2019 Louis Vuitton photographed Emma Stone among the red walls and rocks for the Cœur Battant campaign. In 2024, for the first time in the history of the villa, Jacquemus staged a real show: models on the steps, the June sun, three hundred and sixty degrees of pure architecture.⁠
.⁠
.⁠
.⁠
2, 3. @jacquemus⁠
4 @zegna⁠
5. Domus 605, April 1980⁠
6, 7. @louisvuitton⁠
8. @ysl⁠
#casamalaparte #fashion #set

There are buildings that carry the name of those who lived in them more than those who designed them. Casa Malaparte is one of these, in the most literal sense possible. It was built between 1938 and 1940 on a cliff thirty-two metres above the sea in Capri, from a difficult encounter between the writer Curzio Malaparte and the architect Adalberto Libera, one of the founding figures of Italian rationalism. The collaboration ended early. Malaparte had ideas too precise to entrust to anyone else. The villa became a hybrid creature: rationalist in its structure, Mediterranean in its soul, personal to the point of obsession.⁠
⁠
The trapezoidal staircase that runs across the roof, the one that seems to land from above rather than climb toward the sky, is not by Libera. It is by Malaparte. It is the most photographed, most cited, most coveted part of the villa. A reversed promenade, leading nowhere except to the view of the sea.⁠
⁠
The house remained private, almost inaccessible for decades, reachable only on foot or by boat. Yet fashion found it anyway, with that instinct it has for identifying places capable of communicating something beyond words.⁠
⁠
In 2014 Ermenegildo Zegna chose it as the set for the launch of the UOMO fragrance. In 2018 Saint Laurent brought Kate Moss: in the spring campaign, directed by Nathalie Canguilhem, the model climbs the staircase as the sea disappears beneath her. In 2019 Louis Vuitton photographed Emma Stone among the red walls and rocks for the Cœur Battant campaign. In 2024, for the first time in the history of the villa, Jacquemus staged a real show: models on the steps, the June sun, three hundred and sixty degrees of pure architecture.⁠
.⁠
.⁠
.⁠
2, 3. @jacquemus⁠
4 @zegna⁠
5. Domus 605, April 1980⁠
6, 7. @louisvuitton⁠
8. @ysl⁠
#casamalaparte #fashion #set

There are buildings that carry the name of those who lived in them more than those who designed them. Casa Malaparte is one of these, in the most literal sense possible. It was built between 1938 and 1940 on a cliff thirty-two metres above the sea in Capri, from a difficult encounter between the writer Curzio Malaparte and the architect Adalberto Libera, one of the founding figures of Italian rationalism. The collaboration ended early. Malaparte had ideas too precise to entrust to anyone else. The villa became a hybrid creature: rationalist in its structure, Mediterranean in its soul, personal to the point of obsession.⁠
⁠
The trapezoidal staircase that runs across the roof, the one that seems to land from above rather than climb toward the sky, is not by Libera. It is by Malaparte. It is the most photographed, most cited, most coveted part of the villa. A reversed promenade, leading nowhere except to the view of the sea.⁠
⁠
The house remained private, almost inaccessible for decades, reachable only on foot or by boat. Yet fashion found it anyway, with that instinct it has for identifying places capable of communicating something beyond words.⁠
⁠
In 2014 Ermenegildo Zegna chose it as the set for the launch of the UOMO fragrance. In 2018 Saint Laurent brought Kate Moss: in the spring campaign, directed by Nathalie Canguilhem, the model climbs the staircase as the sea disappears beneath her. In 2019 Louis Vuitton photographed Emma Stone among the red walls and rocks for the Cœur Battant campaign. In 2024, for the first time in the history of the villa, Jacquemus staged a real show: models on the steps, the June sun, three hundred and sixty degrees of pure architecture.⁠
.⁠
.⁠
.⁠
2, 3. @jacquemus⁠
4 @zegna⁠
5. Domus 605, April 1980⁠
6, 7. @louisvuitton⁠
8. @ysl⁠
#casamalaparte #fashion #set

There are buildings that carry the name of those who lived in them more than those who designed them. Casa Malaparte is one of these, in the most literal sense possible. It was built between 1938 and 1940 on a cliff thirty-two metres above the sea in Capri, from a difficult encounter between the writer Curzio Malaparte and the architect Adalberto Libera, one of the founding figures of Italian rationalism. The collaboration ended early. Malaparte had ideas too precise to entrust to anyone else. The villa became a hybrid creature: rationalist in its structure, Mediterranean in its soul, personal to the point of obsession.⁠
⁠
The trapezoidal staircase that runs across the roof, the one that seems to land from above rather than climb toward the sky, is not by Libera. It is by Malaparte. It is the most photographed, most cited, most coveted part of the villa. A reversed promenade, leading nowhere except to the view of the sea.⁠
⁠
The house remained private, almost inaccessible for decades, reachable only on foot or by boat. Yet fashion found it anyway, with that instinct it has for identifying places capable of communicating something beyond words.⁠
⁠
In 2014 Ermenegildo Zegna chose it as the set for the launch of the UOMO fragrance. In 2018 Saint Laurent brought Kate Moss: in the spring campaign, directed by Nathalie Canguilhem, the model climbs the staircase as the sea disappears beneath her. In 2019 Louis Vuitton photographed Emma Stone among the red walls and rocks for the Cœur Battant campaign. In 2024, for the first time in the history of the villa, Jacquemus staged a real show: models on the steps, the June sun, three hundred and sixty degrees of pure architecture.⁠
.⁠
.⁠
.⁠
2, 3. @jacquemus⁠
4 @zegna⁠
5. Domus 605, April 1980⁠
6, 7. @louisvuitton⁠
8. @ysl⁠
#casamalaparte #fashion #set

There are buildings that carry the name of those who lived in them more than those who designed them. Casa Malaparte is one of these, in the most literal sense possible. It was built between 1938 and 1940 on a cliff thirty-two metres above the sea in Capri, from a difficult encounter between the writer Curzio Malaparte and the architect Adalberto Libera, one of the founding figures of Italian rationalism. The collaboration ended early. Malaparte had ideas too precise to entrust to anyone else. The villa became a hybrid creature: rationalist in its structure, Mediterranean in its soul, personal to the point of obsession.⁠
⁠
The trapezoidal staircase that runs across the roof, the one that seems to land from above rather than climb toward the sky, is not by Libera. It is by Malaparte. It is the most photographed, most cited, most coveted part of the villa. A reversed promenade, leading nowhere except to the view of the sea.⁠
⁠
The house remained private, almost inaccessible for decades, reachable only on foot or by boat. Yet fashion found it anyway, with that instinct it has for identifying places capable of communicating something beyond words.⁠
⁠
In 2014 Ermenegildo Zegna chose it as the set for the launch of the UOMO fragrance. In 2018 Saint Laurent brought Kate Moss: in the spring campaign, directed by Nathalie Canguilhem, the model climbs the staircase as the sea disappears beneath her. In 2019 Louis Vuitton photographed Emma Stone among the red walls and rocks for the Cœur Battant campaign. In 2024, for the first time in the history of the villa, Jacquemus staged a real show: models on the steps, the June sun, three hundred and sixty degrees of pure architecture.⁠
.⁠
.⁠
.⁠
2, 3. @jacquemus⁠
4 @zegna⁠
5. Domus 605, April 1980⁠
6, 7. @louisvuitton⁠
8. @ysl⁠
#casamalaparte #fashion #set

Rome renews its image as the “eternal city” through continuous, often surprising stratifications and transformations. This is the case of Corinthia Rome, a new luxury hotel located in the headquarters of the former Bank of Italy in Piazza del Parlamento, designed by Marcello Piacentini in 1914 and renovated in the interiors by London-based GA through a challenging adaptive reuse: an austere and imposing architecture, conceived to represent the economic and political power of the state and now converted, almost by oxymoron, into a place of hospitality, intimacy and conviviality.⁠
⁠
But how can such a stern soul be reconciled with the hedonism of high-end hotellerie⁠
The transformation of the Bank of Italy into a hotel was precisely one such challenge. ⁠
Read more on domusweb.it⁠
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.⁠
.⁠
@ga.design_studio⁠
#architecture #hotel #marcellopiacentini

Rome renews its image as the “eternal city” through continuous, often surprising stratifications and transformations. This is the case of Corinthia Rome, a new luxury hotel located in the headquarters of the former Bank of Italy in Piazza del Parlamento, designed by Marcello Piacentini in 1914 and renovated in the interiors by London-based GA through a challenging adaptive reuse: an austere and imposing architecture, conceived to represent the economic and political power of the state and now converted, almost by oxymoron, into a place of hospitality, intimacy and conviviality.⁠
⁠
But how can such a stern soul be reconciled with the hedonism of high-end hotellerie⁠
The transformation of the Bank of Italy into a hotel was precisely one such challenge. ⁠
Read more on domusweb.it⁠
.⁠
.⁠
.⁠
@ga.design_studio⁠
#architecture #hotel #marcellopiacentini

Rome renews its image as the “eternal city” through continuous, often surprising stratifications and transformations. This is the case of Corinthia Rome, a new luxury hotel located in the headquarters of the former Bank of Italy in Piazza del Parlamento, designed by Marcello Piacentini in 1914 and renovated in the interiors by London-based GA through a challenging adaptive reuse: an austere and imposing architecture, conceived to represent the economic and political power of the state and now converted, almost by oxymoron, into a place of hospitality, intimacy and conviviality.⁠
⁠
But how can such a stern soul be reconciled with the hedonism of high-end hotellerie⁠
The transformation of the Bank of Italy into a hotel was precisely one such challenge. ⁠
Read more on domusweb.it⁠
.⁠
.⁠
.⁠
@ga.design_studio⁠
#architecture #hotel #marcellopiacentini

Rome renews its image as the “eternal city” through continuous, often surprising stratifications and transformations. This is the case of Corinthia Rome, a new luxury hotel located in the headquarters of the former Bank of Italy in Piazza del Parlamento, designed by Marcello Piacentini in 1914 and renovated in the interiors by London-based GA through a challenging adaptive reuse: an austere and imposing architecture, conceived to represent the economic and political power of the state and now converted, almost by oxymoron, into a place of hospitality, intimacy and conviviality.⁠
⁠
But how can such a stern soul be reconciled with the hedonism of high-end hotellerie⁠
The transformation of the Bank of Italy into a hotel was precisely one such challenge. ⁠
Read more on domusweb.it⁠
.⁠
.⁠
.⁠
@ga.design_studio⁠
#architecture #hotel #marcellopiacentini

Rome renews its image as the “eternal city” through continuous, often surprising stratifications and transformations. This is the case of Corinthia Rome, a new luxury hotel located in the headquarters of the former Bank of Italy in Piazza del Parlamento, designed by Marcello Piacentini in 1914 and renovated in the interiors by London-based GA through a challenging adaptive reuse: an austere and imposing architecture, conceived to represent the economic and political power of the state and now converted, almost by oxymoron, into a place of hospitality, intimacy and conviviality.⁠
⁠
But how can such a stern soul be reconciled with the hedonism of high-end hotellerie⁠
The transformation of the Bank of Italy into a hotel was precisely one such challenge. ⁠
Read more on domusweb.it⁠
.⁠
.⁠
.⁠
@ga.design_studio⁠
#architecture #hotel #marcellopiacentini

Rome renews its image as the “eternal city” through continuous, often surprising stratifications and transformations. This is the case of Corinthia Rome, a new luxury hotel located in the headquarters of the former Bank of Italy in Piazza del Parlamento, designed by Marcello Piacentini in 1914 and renovated in the interiors by London-based GA through a challenging adaptive reuse: an austere and imposing architecture, conceived to represent the economic and political power of the state and now converted, almost by oxymoron, into a place of hospitality, intimacy and conviviality.⁠
⁠
But how can such a stern soul be reconciled with the hedonism of high-end hotellerie⁠
The transformation of the Bank of Italy into a hotel was precisely one such challenge. ⁠
Read more on domusweb.it⁠
.⁠
.⁠
.⁠
@ga.design_studio⁠
#architecture #hotel #marcellopiacentini

Rome renews its image as the “eternal city” through continuous, often surprising stratifications and transformations. This is the case of Corinthia Rome, a new luxury hotel located in the headquarters of the former Bank of Italy in Piazza del Parlamento, designed by Marcello Piacentini in 1914 and renovated in the interiors by London-based GA through a challenging adaptive reuse: an austere and imposing architecture, conceived to represent the economic and political power of the state and now converted, almost by oxymoron, into a place of hospitality, intimacy and conviviality.⁠
⁠
But how can such a stern soul be reconciled with the hedonism of high-end hotellerie⁠
The transformation of the Bank of Italy into a hotel was precisely one such challenge. ⁠
Read more on domusweb.it⁠
.⁠
.⁠
.⁠
@ga.design_studio⁠
#architecture #hotel #marcellopiacentini

Rome renews its image as the “eternal city” through continuous, often surprising stratifications and transformations. This is the case of Corinthia Rome, a new luxury hotel located in the headquarters of the former Bank of Italy in Piazza del Parlamento, designed by Marcello Piacentini in 1914 and renovated in the interiors by London-based GA through a challenging adaptive reuse: an austere and imposing architecture, conceived to represent the economic and political power of the state and now converted, almost by oxymoron, into a place of hospitality, intimacy and conviviality.⁠
⁠
But how can such a stern soul be reconciled with the hedonism of high-end hotellerie⁠
The transformation of the Bank of Italy into a hotel was precisely one such challenge. ⁠
Read more on domusweb.it⁠
.⁠
.⁠
.⁠
@ga.design_studio⁠
#architecture #hotel #marcellopiacentini

Torre Blancas in Madrid, a visionary icon designed by Francisco Javier Sáenz de Oiza, redefined the rules of the traditional skyscraper: cylindrical forms, curved balconies, and reinforced concrete shaped to follow the building’s sculptural geometry.
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Torres Blancas di Madrid, icona visionaria firmata da Francisco Javier Sáenz de Oiza, rompe il paradigma del grattacielo tradizionale: forme cilindriche, balconi curvilinei e un utilizzo del cemento armato che asseconda la forma scultorea dell’edificio.
#madrid #architecture #torresblancas

Take any object. A piece of fruit, for instance. Hold it in front of you long enough, and at some point, it stops being an apple or a cluster of grapes. It becomes something prior to language. That is where the question begins: what is a thing when we truly look at it? Not its name, function, or use, but the irreducible presence that makes it this thing, here, now, before our eyes. Every great painter has asked this question through fruit. Before it became a symbol, fruit in art was always an answer disguised as an object.⁠
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From Tintoretto to Caravaggio, fruit in art has never been mere still life, but rather desire, eros, fleetingness, and a promise of eternity.⁠
Read more on domusweb.it⁠
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1. Caravaggio, Basket of Fruit, 1597-1600⁠
2. Sandro Botticelli, Madonna con la melagrana, 1481–1483⁠
3. Tintoretto, Temptation of Adam and Eve, 1550-1553⁠
4. Sandro Botticelli, Madonna of the Pomegranate, 1487⁠
@valentinapetrucciart⁠
#art #fruit #caravaggio

Take any object. A piece of fruit, for instance. Hold it in front of you long enough, and at some point, it stops being an apple or a cluster of grapes. It becomes something prior to language. That is where the question begins: what is a thing when we truly look at it? Not its name, function, or use, but the irreducible presence that makes it this thing, here, now, before our eyes. Every great painter has asked this question through fruit. Before it became a symbol, fruit in art was always an answer disguised as an object.⁠
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From Tintoretto to Caravaggio, fruit in art has never been mere still life, but rather desire, eros, fleetingness, and a promise of eternity.⁠
Read more on domusweb.it⁠
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1. Caravaggio, Basket of Fruit, 1597-1600⁠
2. Sandro Botticelli, Madonna con la melagrana, 1481–1483⁠
3. Tintoretto, Temptation of Adam and Eve, 1550-1553⁠
4. Sandro Botticelli, Madonna of the Pomegranate, 1487⁠
@valentinapetrucciart⁠
#art #fruit #caravaggio

Take any object. A piece of fruit, for instance. Hold it in front of you long enough, and at some point, it stops being an apple or a cluster of grapes. It becomes something prior to language. That is where the question begins: what is a thing when we truly look at it? Not its name, function, or use, but the irreducible presence that makes it this thing, here, now, before our eyes. Every great painter has asked this question through fruit. Before it became a symbol, fruit in art was always an answer disguised as an object.⁠
⁠
From Tintoretto to Caravaggio, fruit in art has never been mere still life, but rather desire, eros, fleetingness, and a promise of eternity.⁠
Read more on domusweb.it⁠
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.⁠
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1. Caravaggio, Basket of Fruit, 1597-1600⁠
2. Sandro Botticelli, Madonna con la melagrana, 1481–1483⁠
3. Tintoretto, Temptation of Adam and Eve, 1550-1553⁠
4. Sandro Botticelli, Madonna of the Pomegranate, 1487⁠
@valentinapetrucciart⁠
#art #fruit #caravaggio

Take any object. A piece of fruit, for instance. Hold it in front of you long enough, and at some point, it stops being an apple or a cluster of grapes. It becomes something prior to language. That is where the question begins: what is a thing when we truly look at it? Not its name, function, or use, but the irreducible presence that makes it this thing, here, now, before our eyes. Every great painter has asked this question through fruit. Before it became a symbol, fruit in art was always an answer disguised as an object.⁠
⁠
From Tintoretto to Caravaggio, fruit in art has never been mere still life, but rather desire, eros, fleetingness, and a promise of eternity.⁠
Read more on domusweb.it⁠
.⁠
.⁠
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1. Caravaggio, Basket of Fruit, 1597-1600⁠
2. Sandro Botticelli, Madonna con la melagrana, 1481–1483⁠
3. Tintoretto, Temptation of Adam and Eve, 1550-1553⁠
4. Sandro Botticelli, Madonna of the Pomegranate, 1487⁠
@valentinapetrucciart⁠
#art #fruit #caravaggio

The Backrooms arrives in cinemas, bringing the internet-born phenomenon of liminal, unsettling spaces to the big screen.
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The Backrooms arriva al cinema, portando sul grande schermo il fenomeno nato online degli spazi liminali e inquietanti.
#architecture #liminal #backrooms

From the monumental reverberation of the Taj Mahal to the hustle and bustle of Grand Central, architecture is not just visual—it thrives on acoustics and memory. Inspired by Italo Calvino’s Invisible Cities, the project Cities and Memory maps famous architecture, city corners, and remote natural landscapes through their real-world sounds. ⁠
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This sonic heritage is then shared with global artists and DJs who reinterpret these soundscapes into ambient and electronic compositions. It moves beyond "Instagram-shot" tourism, inviting us to explore the profound identity of space through a new, immersive form of listening.⁠
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@citiesandmemory

From the monumental reverberation of the Taj Mahal to the hustle and bustle of Grand Central, architecture is not just visual—it thrives on acoustics and memory. Inspired by Italo Calvino’s Invisible Cities, the project Cities and Memory maps famous architecture, city corners, and remote natural landscapes through their real-world sounds. ⁠
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This sonic heritage is then shared with global artists and DJs who reinterpret these soundscapes into ambient and electronic compositions. It moves beyond "Instagram-shot" tourism, inviting us to explore the profound identity of space through a new, immersive form of listening.⁠
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@citiesandmemory

From the monumental reverberation of the Taj Mahal to the hustle and bustle of Grand Central, architecture is not just visual—it thrives on acoustics and memory. Inspired by Italo Calvino’s Invisible Cities, the project Cities and Memory maps famous architecture, city corners, and remote natural landscapes through their real-world sounds. ⁠
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This sonic heritage is then shared with global artists and DJs who reinterpret these soundscapes into ambient and electronic compositions. It moves beyond "Instagram-shot" tourism, inviting us to explore the profound identity of space through a new, immersive form of listening.⁠
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@citiesandmemory

From the monumental reverberation of the Taj Mahal to the hustle and bustle of Grand Central, architecture is not just visual—it thrives on acoustics and memory. Inspired by Italo Calvino’s Invisible Cities, the project Cities and Memory maps famous architecture, city corners, and remote natural landscapes through their real-world sounds. ⁠
⁠
This sonic heritage is then shared with global artists and DJs who reinterpret these soundscapes into ambient and electronic compositions. It moves beyond "Instagram-shot" tourism, inviting us to explore the profound identity of space through a new, immersive form of listening.⁠
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@citiesandmemory

From the monumental reverberation of the Taj Mahal to the hustle and bustle of Grand Central, architecture is not just visual—it thrives on acoustics and memory. Inspired by Italo Calvino’s Invisible Cities, the project Cities and Memory maps famous architecture, city corners, and remote natural landscapes through their real-world sounds. ⁠
⁠
This sonic heritage is then shared with global artists and DJs who reinterpret these soundscapes into ambient and electronic compositions. It moves beyond "Instagram-shot" tourism, inviting us to explore the profound identity of space through a new, immersive form of listening.⁠
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@citiesandmemory

From the monumental reverberation of the Taj Mahal to the hustle and bustle of Grand Central, architecture is not just visual—it thrives on acoustics and memory. Inspired by Italo Calvino’s Invisible Cities, the project Cities and Memory maps famous architecture, city corners, and remote natural landscapes through their real-world sounds. ⁠
⁠
This sonic heritage is then shared with global artists and DJs who reinterpret these soundscapes into ambient and electronic compositions. It moves beyond "Instagram-shot" tourism, inviting us to explore the profound identity of space through a new, immersive form of listening.⁠
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@citiesandmemory

In 2007, the floor of the Tate Modern’s Turbine Hall opened into a long fissure: not an accident, but Doris Salcedo’s Shibboleth. A 167-meter-long rift that cut through the space and the visitor’s body, making tangible what is often invisible.
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Nel 2007 il pavimento della Turbine Hall della Tate Modern si è aperto in una lunga crepa: non un incidente, ma l’opera Shibboleth di Doris Salcedo. Una fenditura di 167 metri che attraversava lo spazio e il corpo del visitatore, rendendo fisico ciò che spesso resta invisibile.
#doriasalcedo #tate #art

In Cusano Milanino, Villa Nava — designed in the 1970s by architect Francesco Castiglioni — breaks away from the area’s sequence of Liberty-style homes with a bold composition of concrete volumes, glass walls, and terraces. ⁠
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The interior choices also reflect the work of designer Giada Nava, who in recent years oversaw the restoration of the villa Castiglioni originally designed for his own family. ⁠
The property is now on the market for the first time.⁠
Read more on domusweb.it⁠
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Photos Italy Sotheby's International Realty⁠
#villa #brutalism #italy #castiglioni⁠
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In Cusano Milanino, Villa Nava — designed in the 1970s by architect Francesco Castiglioni — breaks away from the area’s sequence of Liberty-style homes with a bold composition of concrete volumes, glass walls, and terraces. ⁠
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The interior choices also reflect the work of designer Giada Nava, who in recent years oversaw the restoration of the villa Castiglioni originally designed for his own family. ⁠
The property is now on the market for the first time.⁠
Read more on domusweb.it⁠
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Photos Italy Sotheby's International Realty⁠
#villa #brutalism #italy #castiglioni⁠
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In Cusano Milanino, Villa Nava — designed in the 1970s by architect Francesco Castiglioni — breaks away from the area’s sequence of Liberty-style homes with a bold composition of concrete volumes, glass walls, and terraces. ⁠
⁠
The interior choices also reflect the work of designer Giada Nava, who in recent years oversaw the restoration of the villa Castiglioni originally designed for his own family. ⁠
The property is now on the market for the first time.⁠
Read more on domusweb.it⁠
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Photos Italy Sotheby's International Realty⁠
#villa #brutalism #italy #castiglioni⁠
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In Cusano Milanino, Villa Nava — designed in the 1970s by architect Francesco Castiglioni — breaks away from the area’s sequence of Liberty-style homes with a bold composition of concrete volumes, glass walls, and terraces. ⁠
⁠
The interior choices also reflect the work of designer Giada Nava, who in recent years oversaw the restoration of the villa Castiglioni originally designed for his own family. ⁠
The property is now on the market for the first time.⁠
Read more on domusweb.it⁠
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Photos Italy Sotheby's International Realty⁠
#villa #brutalism #italy #castiglioni⁠
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In Cusano Milanino, Villa Nava — designed in the 1970s by architect Francesco Castiglioni — breaks away from the area’s sequence of Liberty-style homes with a bold composition of concrete volumes, glass walls, and terraces. ⁠
⁠
The interior choices also reflect the work of designer Giada Nava, who in recent years oversaw the restoration of the villa Castiglioni originally designed for his own family. ⁠
The property is now on the market for the first time.⁠
Read more on domusweb.it⁠
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Photos Italy Sotheby's International Realty⁠
#villa #brutalism #italy #castiglioni⁠
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In Cusano Milanino, Villa Nava — designed in the 1970s by architect Francesco Castiglioni — breaks away from the area’s sequence of Liberty-style homes with a bold composition of concrete volumes, glass walls, and terraces. ⁠
⁠
The interior choices also reflect the work of designer Giada Nava, who in recent years oversaw the restoration of the villa Castiglioni originally designed for his own family. ⁠
The property is now on the market for the first time.⁠
Read more on domusweb.it⁠
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.⁠
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Photos Italy Sotheby's International Realty⁠
#villa #brutalism #italy #castiglioni⁠
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In Cusano Milanino, Villa Nava — designed in the 1970s by architect Francesco Castiglioni — breaks away from the area’s sequence of Liberty-style homes with a bold composition of concrete volumes, glass walls, and terraces. ⁠
⁠
The interior choices also reflect the work of designer Giada Nava, who in recent years oversaw the restoration of the villa Castiglioni originally designed for his own family. ⁠
The property is now on the market for the first time.⁠
Read more on domusweb.it⁠
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Photos Italy Sotheby's International Realty⁠
#villa #brutalism #italy #castiglioni⁠
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Le Corbusier’s only building in Belgium, Maison Guiette, moves through the 20th century between art, architecture, and fashion. From a modernist studio for painter René Guiette to the creative retreat of Ann Demeulemeester, the house continues to express a dialogue between space and vision.
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L’unico edificio realizzato da Le Corbusier in Belgio, Maison Guiette, attraversa il Novecento tra arte, architettura e moda. Da studio modernista del pittore René Guiette a rifugio creativo di Ann Demeulemeester, la casa racconta ancora oggi il dialogo tra spazio e visione.
© FLC / ADAGP @fondationlecorbusier
#lecorbusier #belgium #architecture