Part III

2018 – 2013

Journey to a coral cave

by Brianna Ruland

Marble water shows the reflection and promise of sunrise, but in a size and distance never witnessed on this planet until now. If travelling to the end of this straight chamber one may imagine there being some place where walking on water halts being possible, sinking down into an underwater emerald cavern in suspended disbelief.

B.RULAND, edited by Matt Edwards, “Journey to a coral cave”, San Luis Obispo, 29 Mar 2018.

Three favourite works

by Almira Armstrong

Architect Antonino Cardillo possesses a vision that is conceptual and yet completely rooted in a historical understanding of classical architecture. Born in Sicily, Antonino’s work has spanned the conceptual to the commercial and bespoke residential. In short: he’s no one-trick pony. His understanding of space and balance has resulted in some of the most influential interiors of recent times, and his willingness to push beauty and form to its most abstract continues to result in that most elusive of architectural outcomes: an emotional, human response.

A.ARMSTRONG, “Our top three favourite works”, in, Sydney, 22 Jan 2018.

Uncanny beauty

by Sabrina Puddu

This propensity to see beauty in darkness has been paralleled in recent times by a re-consideration of spaces of delight diverting from the modern canon of beauty of anesthetised, white or transparent interiors. Since the last decades of the twentieth century, environments boasting pre-modern and anti-western sensorial qualities have been brought back to attention and taken as a paradigm for the possibility of a new interior. As an example, we can consider some of the interiors designed by the Italian architect Antonino Cardillo who, in his built project ‘House of Dust’ (Rome, 2013), declares primordial caverns and Renaissance grottos as sources of reference.

S.PUDDU, “Uncanny beauty”, in «Idea Journal», Wellington, Dec 2017, p.103.

Evocazione astrazione illusione

by Jean-Marie Martin

Realizzando la trasformazione della Sala Laurentina, Antonino Cardillo, un architetto che si è meritatamente guadagnato l’attenzione della critica internazionale, ha realizzato uno spazio simile a un cannocchiale puntato sul trascorso del luogo che oggi la Cattedrale occupa e le cui vicende storiche non soltanto non possono restituire, ma contribuiscono a occultare.

J.M.MARTIN, “Evocazione, astrazione, illusione”, in «Casabella», no. 879, Milan, Nov 2017, pp.30-33.

The architect of a generation

by Eve

Successful architect, Antonino Cardillo has confirmed his place in contemporary design history with, among other things, a series of avant-garde aesthetic projects. […] His conception of modern architecture is reflected in his reintroduction of primitive elements (vaults, caves, arches) and use of polychrome in modern structures, creating harmonious and meaningful anachronisms.

EVE, “The architect of a generation”, in, Paris, Nov 2017.


by Mrinalini Ghadiok

Antonino Cardillo challenges the very norms of the architectural process as we have popularly come to know it. His works transcend the course to deliver moments that are sublime, experiences that are intangible, and spaces that are overwhelmingly immersive.

M.GHADIOK, “Elemental”, in «Mondo*Arc India», no.15, New Delhi, Jul 2017, pp.6,10,50-63.

The haven of memory

by Francesca Gottardo

The theme of the grotto expresses the profound sense of his complex but minimal architecture which, in turn, like Homer’s challenge, intends to overcome its limits by measuring itself against the finite nature of space and geometric structure in order to come closer to the infinite.

F.GOTTARDO, “The haven of memory”, in «Abitare La Terra», no.41, Rome, May 2017, pp.45-47.

Architecture and Truth

by Jeanette Kunsmann with Stephan Burkoff

Antonino Cardillo is a lone warrior – though the term warrior is already misleading. His weapons are a game of illusion and reality, of form and fantasy. One thing always takes centre stage for the young Italian planner: architecture.

J.KUNSMANN, S.BURKOFF, “Architektur und Wahrheit”, in «DEAR», no.1, Berlin, April 2017, pp.1,3,13,68-85.


by Andreas Kühnlein

Antonino Cardillo hat sich einer Bauform mit jahrhundertelanger Tradition verschrieben: der künstlichen Grotte, die er in zeitgemäße Formen übersetzt. Ableger seiner poetischen Raume gibt es in London und Rom. Der jüngste entstand nun auf Sizilien: Der Specus Corallii ist dem Element Wasser gewidmet und versetzt seinen Besucher auf ein imaginäres Riff in pludrigem Korallenrot. Gedacht ist die sehr geradlinig geratene grotto fur Veranstaltungen – oder einfach nur zur Kontemplation.

A.KÜHNLEIN, “Traumwelt”, in «AD Architectural Digest», no.178, Munich, Apr 2017, p.111.

Un futuro con radici nel passato

by Sebastiano Costantino

Trapani ha guadagnato di recente una nuova perla per il suo centro storico. Nel 2016 si è concluso il lavoro di totale riprogettazione architettonica di un vecchissimo e storico edificio situato a due passi dalla Cattedrale.

S.COSTANTINO, “Un’architettura che guarda al futuro con radici nel passato”, in L.Frudà, S.Costantino, Strenna d’Agosto 2016, Rome, La Ragnatela, Mar 2017, pp.305-307.

Ancient dust & fragrance

by Neil Cownie

I found it quite an exciting sensory experience. I think we are so used to taking in experiences visually. This was something new. The stark ancient quality of the space seemed to intensify the experience of smelling the different fragrances. In his work, Cardillo sets out to transcend the ordinary. I think he certainly achieved that with his fascinating work “Colour as a Narrative”.

N.COWNIE, “Ancient dust & fragrance”, in, Perth, Jan 2017.

Architektur als Rausch

by Jeanette Kunsmann

Licht und Schatten, Stein und Staub, aber vor allem: Symmetrie. Antonino Cardillo ist ein Architekt der klassischen Schule, seine Räume suchen nach ähnlich großen Gefühlen, wie Richard Wagner sie in seinen Opern komponierte. Auf das „Haus aus Staub“ und die „Grünliche Götterdämmerung“, einem Galerieumbau in Rom, folgt diesen Sommer Specus Corallii: eine „Korallenhöhle“ in Trapani auf Sizilien, der Heimat Cardillos.

J.KUNSMANN, “Architektur als Rausch”, in, Berlin, Baunetz, 29 Nov 2016.

Un'anima per la Sala Laurentina

by Mariza D'Anna

Entrando nello “Specus Corallii” mi avverte della “beffa” d’autore e del suo intento di voler stendere un racconto letterario nel quale non è così importante che le cose siano davvero accadute, e che l’importante è sviluppare un’idea e mantenerla. Ma sono ormai lontani i tempi in cui a Roma, senza denaro, si era inventato altri mestieri [...]. E lo stupore, entrando nella sala, è vedere come sia riuscito a conciliare un luogo sacro con la tradizione della città.

M.D’ANNA, “Un’anima per la Sala Laurentina”, in «La Sicilia», yr.72, no.298, Catania, 28 Oct 2016, p.13.

L'Architecture est un songe

by Sipane K-Hoh

En 2015, à Londres, l’architecte sicilien Antonino Cardillo a présenté une installation qui reste encore dans les esprits. Retour sur une œuvre épurée qui s’avère être une ode à l’architecture. Dans l’une des rues géorgiennes de la capitale anglaise, derrière un portail typique se trouve un espace des moins anodins. Selon son architecte, il s’agit d’une «grotte». En effet, si l’on regarde de près, les murs rugueux et la maçonnerie artisanale nous font penser à un antre millénaire. Pourtant il s’agit d’une scénographie menée intelligemment par l’architecte Antonino Cardillo.

S.K-HOH: “L’architecture est un songe”, in, Paris, 28 Nov 2016.

Storie di altre stanze

by Beppe Finessi

There are interior designers who magically sweep away all established practice and make a name for themselves with a project destined to became a milestone. We have seen this recently with Antonino Cardillo, whose House of Dust (Rome, 2013) proposes metaphysical settings of great beauty, where the interiors speak of memories deposited in layers of colour that have never seen before.

B.FINESSI, “Storie di altre stanze”, in Finessi B, Stanze. Altre filosofie dell’abitare, Milan, XXI Triennale, Marsilio, Sep 2016, pp.169,283.

A shop with no products in sight

by Jessica Cooper

Somewhere on Dover Street, round the corner from high-brow Mayfair filled with the hustle and bustle of shopaholics frantically shopping in the luxe houses of Chanel, Prada and Dolce and Gabbana, there lies a fairy tale grotto filled with tranquillity and calm. Once entering this space, I feel that all time has stood still. Suddenly, I am not filled with my shopper’s impulse. Here I am. I have stumbled into Illuminum’s perfumery boutique in London. Except it’s unlike any other boutique in Mayfair: the place is a sanctuary.

J.COOPER, “A Shop with no products in sight”, in «Eclectic», no.AW15, Paris, Dec 2015, p.160-161.

Da nobis hodie incantum quotidianum

by Ana Araujo

Semper’s carnivalesque spirit pervades the whole oeuvre of Sicilian architect Antonino Cardillo. His Crepuscular Green gallery in Rome evokes the setting of an ancient sacrificial ritual. Egyptian? Greek? Roman? It doesn’t really matter, because once these ancestral images are deposited in our unconscious they are emptied of their historical specificity; as in our dreams, the only link that remains is the emotional one.

A.ARAUJO, “Da Nobis Hodie Incantum Quotidianum”, in «Design Exchange», no.12, London, Aug 2015.


by Antonino Cardillo

Each act of beauty is a gentle message toward death. Any act of beauty is a shard of love en route for a stranger. Any fragment of past beauty is part of our memory, giving sense to the permanence of mankind on the Earth.

A.CARDILLO, “References”, in: «Baunetzwoche», no.403, Berlin, Baunetz, 26 Mar 2014, p.25.

Götterdämmerung in Rom

by Jeanette Kunsmann

Letzten Sommer trafen sich Richard Wagner und Andrea Palladio in Rom – ein grandioses Gigantentreffen und zugleich der Referenzraum dieses Galerieumbaus. Crepuscular Green hat Architekt Antonino Cardillo seinen Innenausbau einer Kunstgalerie im römischen Viertel San Lorenzo genannt: eine „Grünliche Dämmerung“, angelehnt an die vier Operndramen von Rheingold bis zur Götterdämmerung. Wie aber passt Wagners Ring des Nibelungen mit dem Werk des Renaissance-Architekten zusammen?

J.KUNSMANN, “Götterdämmerung in Rom”, in, Berlin, Baunetz, 24 Feb 2015.

Architettura di polvere

by Francesca Gottardo

Un tappeto di legno sembra come fluttuare nell’aria e, adagiandosi delicatamente su una superficie eterea color talco, come fosse un’astronave atterrata su un pianeta lontano, ci trasporta in una dimensione apparentemente fuori dal tempo, che qui sembra essersi fermato o mai trascorso, sospeso, immobile. Un senso di iniziale estraniamento pervade l’animo di chi osserva. L’occhio è confuso, la mente turbata, proiettata in uno spazio infinito, senza orizzonte, in cui tutto sembra capovolto. Cielo e terra, sopra e sotto, alto e basso, leggero e pesante, si invertono a dispetto di ogni legge di gravità e di ogni consapevole percezione dello spazio.

F.GOTTARDO, “Architettura di Polvere”, in «Abitare La Terra», no.37, Rome, Mar 2015, p.50-53.

House of Dust

by Nacho Alegre

Italian-born architect Antonino Cardillo believes that if light is the raw material of architecture [...] light, when it encounters a solid material changing its nature and form, reverberates on other surfaces in a game of divisions until [it] decays into darkness. This is certainly the case for Cardillo’s project House of Dust, located in Rome. And although a lot has been written about it, I was attracted to it at first glance; it instantly brought back memories of the best postmodern, neoclassical architecture that I was revisiting at the time – Bofill, Moneo, Tusquets – but with a more personal and very contemporary view.

N.ALEGRE, “House of Dust”, in Room: Inside Contemporary Interiors, London, Phaidon, Oct 2014, p.64.

Doesnt float with the stream

by Haim Capone

האדריכל האיטלקי אנטונינו קרדילו (Antonino Cardillo) ראוי לתואר "איש הרנסנס" מכמה וכמה סיבות. הוא מחובר בטבורו לאדריכלות הקלאסית, שואב השראה אמנותית מתקופת הרנסנס, מעצב רהיטים, כותב שירים דרכם הוא מנסה להסביר את יצירותיו, ונמלט מהמודרניות כאילו היתה זו מחלה ממארת...
אבק ועפר הם הגיבורים הראשיים והמפתיעים של "בית האבק", דירה בת 100 מ"ר בלבד, לתוכה יצק האדריכל אנטונינו קרדילו את משנתו הסדורה. "בית האבק" הוא יצירה מינימליסטית פורצת דרך החותרת נגד הזרם של הקלישאות המודרניסטיות.

H.CAPONE, “Doesnt float with the stream”, in «Trend», no.141, Tel Aviv, Mar 2014, pp.173-180.

Decorative ceilings

by Jenny Dalton

Meanwhile, in a newly built project by Antonino Cardillo, for Rome-based client Massimiliano Beffa, the ceiling is at the very crux of the interior. House of Dust features a cave-like rough-plaster version that almost seems to drop down from the sky – it is purposely reminiscent of all kinds of subliminal historical references, in particular the vault of very early architecture. I’ve always been interested in ceilings, says Cardillo. The vault is the place where the architecture ‘happens’. It possesses an archetypal and sacred value. It goes back to the primary meaning of architecture, which is the protection of the cave, but also to its spiritual meaning, because every ‘vault’ is also the transfiguration of the sky in stone.

J.DALTON, “Decorative ceilings”, in «How To Spend It», London, Financial Times, Mar 2014, p.71.

Feeling through sight

by Ana Araujo

In connecting architecture to the realm of the haptic, both on a more tactile, micro scale (ceiling) and on a more visual, macro scale (arches), Cardillo’s architecture promotes the sensorial mobilisation envisioned by Benjamin as a potential force for social/political transformation. It also responds to Rilke’s call for an intensification of the senses as the only possible antidote to human suffering and violence. It is a hopeful piece that suggests that architecture still holds the power to awaken our senses and emotions for a deeper, more intimate and fulfilling engagement with the world.

A.ARAUJO, “Feeling through sight: zooming in, zooming out”, in «The Journal of Architecture», vol.19, no.1, London, RIBA, Jan 2014.

Wohnung House of Dust in Rom

by Christine Schröder

In Rom hat der Architekt Antonino Cardillo für einen befreundeten Notar das „Haus aus Staub“ entworfen. Eine 100 Quadratmeter große Wohnung, in der das Zusammenspiel von Licht und Schatten eine ganz neue Bedeutung erhält. Durch unterschiedliche Oberflächenstrukturen und Materialien entstehen immer neue, reizvolle Stimmungen und dank der Anwendung des Goldenden Schnitts als ideales Teilungsverhältnis stellt sich in den Wohnräumen eine ausgewogene Harmonie von ganz alleine ein.

C.SCHRÖDER, “Wohnung House of Dust in Rom”, in «AIT», no.3/14, Leinfelden-Echterdingen, Mar 2014, pp.120-125.

AA School open lecture

by Alexandra Savtchenko-Belskaia

Hot on the heels of our Sicilian love affair, Intermediate 2 presents an evening to transport us once more to the stone island’s spectacular sensuous atmosphere and rich cultural syncretism.

A.SAVTCHENKO-BELSKAIA, Open Lecture, London, Architectural Association, 20 Nov 2013.

Architecture as entertainment

by Antonino Cardillo

Thus contemporary architecture celebrates the power and becomes itself the power. And even if they seem like opposites, power and entertainment are part of the some strategy, one that distracts people from the feelings of life.

A.CARDILLO, “Architecture as Entertainment”, in «Fulcrum», no.77, London, Architectural Association, 18 Nov 2013, p.1.

Domestic philosophy

by Riya Patel

It invites a frugal experience of life, says architect Antonino Cardillo of the 1960s apartment he has refurbished for a couple in Rome. A kind of escape from the glass houses that fill the pages of architectural magazines today. Cardillo’s House of Dust does not tick the usual boxes. In place of abundant natural light and designer furnishings are gloomy cavernous spaces characterized by a grainy ceiling of pozzolanic plaster, tinted the colour of dust.

R.PATEL, “Domestic Philosophy”, in «Frame», no.95, Amsterdam, Nov 2014, p.58-59.

House of Dust

by Gaia

We first encountered Sicilian architect Antonino Cardillo in 2009 when we charged him – along with 29 other young up-and-coming talents – with the task of designing his ideal home. Four years and several projects later, Cardillo has unveiled his most recent abode, entitled House of Dust. The minimalist house embraces the earthy material with a rough, plaster cast ceiling that visually divides the room using ‘the golden ratio’. Cardillo waxes lyrical [I was] craving for primordial caverns, for Renaissance grotesques, for nymphaeums in Doria Pamphilj, for faintly Liberty façades in the streets off Via Veneto.

GAIA, Case studies, [app], London, Wallpaper*, Sep 2013.

House of Dust

by Dana Tomić Hughes

This is a courageous project with a fresh aesthetic and a unique vision. It’s the kind of interior that creates new trends, memes and movements. In today’s day and age where we are exposed to the entire world through our computer screens, designers tend to move towards a more unified aesthetic as we are all influencing each other so greatly. This is why it is so important to see projects like this one, that break the mould and bring so much individual character to the table.

D.TOMIC HUGHES, “House of Dust”, in, Sydney, 27 Sep 2013.

House of Dust

by Mitchell Oakley Smith

As one of the world’s most exciting architects, Antonino Cardillo draws on classical and ancient architectural forms to create spaces that feel entirely new. House of Dust, his latest residential project in Rome, reveals a yearning for primordial caverns. Architect Antonino Cardillo was not being ironic when he named his latest project – a 100 square metre apartment in Rome, Italy – House of Dust. Here, the ceiling and upper half of the rooms’ walls is covered in a raw plaster the colour of bare earth, giving the space a cavernous quality in combination with carved-out windows. It’s not a common style in contemporary design practice – indeed, the closest thing to this I can recall are the concrete bagged walls of my high school, and how hideous I always thought them – but the effect in this context is rather profound, almost sacred in its allusion to classical religious tombs. Of course, this can only be expected from Cardillo.

M.OAKLEY SMITH: “House of Dust”, in, Sydney, Aug 2013.

Haus aus Staub

by Tim Berge

Durch kleine Fenster gefiltertes Licht, ausgeblichene Farben an den Wänden und eine zentimeterdicke Staubschicht unter der Decke: Ein gerade erst umgebautes Apartment in Rom sieht aus, als wäre es seit Jahren verwaist. Doch hier legte nicht der Zahn der Zeit, sondern eines der hoffnungsvollsten Architekturtalente des Landes seine Hand an – ein Spiel mit Traum und Wirklichkeit.

T.BERGE, “Haus aus Staub”, in:, Berlin, Baunetz, Aug 2013.

Una casa, una visione

by Paolo Maria Noseda

Un ingresso laterale svela un salone che, come una maschera greca improvvisamente indossata dal visitatore, proietta e attira l’attenzione su due finestre rastremate: un paio di occhi sul mondo. Teatro interno al teatro della vita attraverso la polvere, metafora di viaggi e terre lontane, impercettibile elemento unificante fra spazio e tempo.

P.M.NOSEDA, “Una casa, una visione”, in «Casamica», Milan, Corriere della Sera, Jun 2013, p.74-83.

Greto mare arcaico

by Federico Caruso

Dal passato si accende la macchina del tempo e la caverna si trasforma in casa contemporanea, col vecchio guscio schiumoso attaccato alla schiena ... di questo lungo viaggio sono impressi molti ricordi rimasti incagliati nel solco tracciato.

F.CARUSO, “Greto mare arcaico”, Florence, 14 Apr 2013.

Part II

2016 – 2012

Digitale Wirklichkeit Versprechen

by Carolin Höfler

In Architektur und Interior-Design verschwimmen gegenwärtig die Grenzen zwischen virtuellen Darstellungen und physisch realen Räumen immer mehr. Der italienische Architekt Antonino Cardillo nutzte jüngst digitale Bilder, um in den Medien Gebautes vorzutäuschen. Nachdem die Darstellungen als Wunschbilder enthüllt waren, entgegnete er: Sehen Sie es einfach wie eine literarische Erzählung, [...] ein Märchen. Da ist es auch nicht wichtig, dass die Dinge tatsächlich passiert sind.

C.HÖFLER, “Hyper Desire. Digitale Wirklichkeitsversprechen”, in Gastvortrag im Interdisziplinäre Ringvorlesung Wunsch, Technical University of Cologne, Jun 2016.

Neben der Realität

by Jeanette Kunsmann

Die Architekturfotografie nähert sich mehr und mehr an die Bildsprache der Visualisierung an, viele Renderings sehen heute so realistisch aus wie Fotos – auf diese Weise hatte der italienische Architekt Antonino Cardillo vor zwei Jahren die Medien gründlich verwirrt. Digitale Bildbearbeitung sprengt die Grenzen der Wirklichkeit. Schon lange ist die Zukunft hier Gegenwart. Wir leben in einem massiv visuellen Zeitalter.

J.KUNSMANN, “Neben der Realität: Über Architekturvisualisierung”, in «Baunetzwoche», no.397, Berlin, Baunetz, Feb 2015, pp.8-18.

Digitale Wirklichkeit Versprechen

by Gérard Houllard

Tatsächlich hat Cardillo hier im Kern Recht, denn wie auch dieser Aufsatz zeigen wollte, können Bilder von unrealisierten und utopischen Architekturen zum festen Bestandteil der Architekturgeschichte werden und diese nicht unwesentlich beeinflussen. Der Unterschied zu Cardillo liegt aber in der wichtigen Tatsache, dass diese Utopien auch als solche deklariert sind.

G.HOULLARD, “Über die mediatisierte Repräsentation von Architektur”, in, vol.4, no.1, Basel, May 2013, pp.2-11.

Das Werben mit dem Wow

by Maik Novotny

2009 wurde Antonino Cardillo vom Trendmagazin Wallpaper unter die 30 wichtigsten Nachwuchsarchitekten gereiht. Dumm nur, dass sich später herausstellte, dass der junge Italiener bislang so gut wie nichts gebaut hatte. Denn die luxuriösen Wohnlandschaften, von denen Magazine wie H.O.M.E. und Build schwärmten, waren allesamt Renderings, also digitale Visualisierungen, scheinbar Computerspielen entsprungen und in unscharf mediterrane Umgebung implantiert. Cardillo quittierte es mit treuherzigem Achselzucken: In Italien sei es eben für junge Absolventen praktisch unmöglich, an Aufträge zu kommen. Und sei die visionärste Architektur nicht schon immer auch virtuell gewesen?

M.NOVOTNY, “Das Werben mit dem Wow”, in «Der Standard», no.7631, Vienna, 8 Mar 2014.

Analogue / Digital

by Hubertus Adam

The ‘Cardillo’ phenomenon [...] is a good example.In competitions and conceptual designs digitally-produced images with photographic effects simulate reality reducing the design process to one premade view. Seeming to be understood by everyone, the language of the imagery precludes the complex processes of construction from entering the field of view.

H.ADAM, “Analogue / Digital”, in «S AM», no.10, Basel, Schweizerisches Architekturmuseum, Mar 2013, pp.18,27.

Siamo specchi l'uno dell'altro

by Stefano Mirti e Gioia Guerzoni

Forse inizierei da ‘specula’, dal latino. Ovvero da luogo dal quale si osserva. A me piace immaginarmi come una ‘specola’. Un luogo eminente per guardare o se preferite, esplorare. Una sorta di telescopio. Del resto, voi mi insegnate che la sincerità non è una questione di volontà, ma di talento. Mi sembra evidente no? Nessun problema può essere risolto. Quando una situazione diventa un problema non ha alcuna soluzione.

S.MIRTI, G.GUERZONI, “Siamo specchi l’uno dell’altro”, in «Opere», no.32, Florence, Oct 2012, pp.52-56.

Ein Kanon für Architektur

by Fabrizio Gallanti

Man könnte es einfach und ausgewogen mit Kant halten und zwei Bewertungsmaßstäbe anlegen. Der moralische Maßstab würde ja sagen, da die Handlungen von Cardillo gegen die Wahrheit gerichtet sind, weil ein Profi sich an die Regeln halten sollte und er somit falsch und verachtenswert handelt. Eine ästhetische Bewertung könnte jedoch zu dem gegenteiligen Urteil kommen, ist die Handlung doch von einer gewissen Eleganz geprägt, welche sein Schaffen rechtfertigt. Nein, er hat es richtig gemacht, wahrscheinlich unbedarft und unbewusst, weil er doch eine Geschichte fortschreibt, einen Kanon, der für Architektur angemessen ist.

F.GALLANTI, in “Causa Cardillo: 'Geht’s noch ohne Hochstapelei?'”, in, Berlin, 11 Sep 2012.

Die Medien an die Nase fassen?

by Andreas Ruby

Als er explizit darauf angesprochen von der Spiegel-Redakteurin, hat er aber wahrheitsgemäß geantwortet. Im Übrigen dokumentiert er alle Artikel zu der "causa" auf seinem website peinlich genau. Deswegen handelt er für mich immer noch redlich. Müssen sich hier nicht eher die Medien an die Nase fassen?

A.RUBY, in “Causa Cardillo: 'Geht’s noch ohne Hochstapelei?'”, in, Berlin, 10 Sep 2012.

Das gemachte Versprechen einzulösen

by Tobias Walliser

Täuschung liegt erst dann vor, wenn man wider besseren Wissens nicht in der Lage wäre, das gemachte Versprechen einzulösen, also als Architekt nicht das Handwerkszeug hat, diese Visualisierungen entsprechend umzusetzen.

T.WALLISER, in “Causa Cardillo: 'Geht’s noch ohne Hochstapelei?'”, in, Berlin, 10 Sep 2012.

Early respect corrupts the soul

by Lars Krückeberg,
Wolfram Putz und Thomas Willemeit

Die Kunst des architektonischen Berufseinstiegs besteht darin, das Vertrauen eines Bauherrn zu gewinnen, ohne die eigene Vertrauenswürdigkeit im Bauen jemals unter Beweis gestellt zu haben. Antonino Cardillo beraubt sich durch seinen fotorealistischen Bluff des Glücksmoments, eben dies geschafft zu haben. Der Reifeprozess einer Firma, eines Werkes oder eines Menschen findet ausserhalb des Rampenlichts statt. „Early and unearned respect corrupts the soul“, sagte immer einer unserer Lieblingsprofessoren, Coy Howard.

L.KRUCKEBERG, W.PUTZ, T.WILLEMEIT, in “Causa Cardillo: 'Geht’s noch ohne Hochstapelei?'”, in, Berlin, 10 Sep 2012.

Schüchterne Schummelei

by Volkwin Marg

Bemerkenswert ist, dass solch eher schüchterne Schummelei so viel Aufmerksamkeit findet, während man beim Getöse wirkungsmächtiger charismatischer Scharlatane lieber Ohren und Augen schließt.

V.MARG, in “Causa Cardillo: 'Geht’s noch ohne Hochstapelei?'”, in, Berlin, 10 Sep 2012.

Kollabieren dieses Systems

by Peter Reischer

Die Medien, in diesem Fall die Architekturmagazine, verlangen ständig neue Bilder, Projekte, Sensationen um damit diese Scheinbarkeiten zu veröffentlichen. Es ein System des sich ‚gegenseitig benützens‘ und auch der ständigen Reproduktion. Und ungewollt offenbart sich mit dieser Story das gerade stattfindende Kollabieren dieses Systems.

P.REISCHER, in “Causa Cardillo: 'Geht’s noch ohne Hochstapelei?'”, in, Berlin, 10 Sep 2012.

Geht's noch ohne Hochstapelei?

by Carl Zillich

Sollte Cardillo etwa gar als Branchen-Märtyrer der jungen Generation gefeiert anstatt als armer Lügenbaron gescholten werden? Ist seine Data Morgana letztlich nicht einfach nur Notwehr angesichts der weitestgehend chancenlosen Berufssituation junger Architekten? Professioneller Ungehorsam als legitime Überlebenstaktik? In einem Wort: Geht’s noch ohne Hochstapelei?

C.ZILLICH, in “Causa Cardillo: 'Geht’s noch ohne Hochstapelei?'”, in, Berlin, 10 Sep 2012.

Alles nur gerendert – und jetzt?

by Christian Holl

Oder die, wie wir uns über die Medien heute unsere Realität aus dem Materiellen und dem Imaginären konstruieren und welche Konsequenzen das hat. Keine einfachen Fragen, wahrlich. Wenn der Fall Cardillo nun dazu diente, wenigstens wieder eine dieser Fragen ernsthaft zu diskutieren, hätte er vielleicht mehr für den Architekturdiskurs getan, als die, die meinen, immer schon die Antwort auf sie zu haben.

C.HOLL, “Alles nur gerendert – und jetzt?”, in, Stuttgart, 29 Jul 2012.

Phantasie und Wirklichkeit

by Gabriele Detterer

Im Übrigen sei Architektur schon immer auch ephemer und «virtuell» gewesen, erklärt er. Von Palladio bis Schinkel, von Sant’Elia bis Mies van der Rohe hätten Baukünstler mit Ideen in Form von «Surrogaten» die Architekturentwicklung beeinflusst und die Realität verändert.

G.DETTERER, “Phantasie und Wirklichkeit”, in «Neue Zürcher Zeitung», no.164, Zurich, 17 Jul 2012, p.40.

L'architetto delle case inesistenti

by Alessandro Alviani

Sono delle invenzioni fantastiche, spiega Cardillo. Nella contemporaneità di solito i media manipolano le persone, io ho fatto l’operazione inversa: ho manipolato i media, usando i loro stessi mezzi.

A.ALVIANI, “Cardillo, l’architetto delle case inesistenti”, in «La Stampa», Turin, 3 Jul 2012.


by Susanne Beyer

Als Felix Krull jung war, dachte er lange darüber nach, ob er die Welt klein oder groß sehen solle. Seiner "Natur gemäß" habe er dann in seinem späteren Leben "die Welt für eine große und unendlich verlockende Erscheinung geachtet". Er wurde der glücklichste Hochstapler der Literaturgeschichte. Thomas Manns Roman "Die Bekenntnisse des Hochstaplers Felix Krull" ist auch eine Persiflage auf das Künstlertum. Denn der Künstler, so dachte Mann, ist stets auch ein Aufschneider. Sein Talent – erst mal nur eine Behauptung.

S.BEYER, “Hochstapler”, in «Der Spiegel», no.27/12, Hamburg, 2 Jul 2012, pp.3,121-123.

Schöner Klonen

by Peter Reischer

Cardillo selbst zeigt sich standesgemäss inszeniert: unrasiert, offener Hemdkragen, mit melancholischem Fernblick. Zu seinen grossen Würfen liefert er, was die Szene wünscht, harte Fakten: Baukosten, Quadratmeter, Materialien, Einrichtungsfirmen. Als «Fotograf» firmiert bei den Abbildungen der Bauwerke stets Antonino Cardillo. Gefragt, ob die Fotos echt seien, gibt es die knappe Antwort: I am an artist and as an artist I manipulate reality!

P.REICHER, “Schöner Klonen”, in: «Falter», no.19/12, Vienna, May 2012, pp.30-31.

Part I

2012 – 2007

Questione di fusion

by Claudia Ferrauto

Dove sarà mentre leggete non è importante perché basta mandargli una e-mail per raggiungerlo. Con uno stile a metà strada tra Louis Khan e Ettore Sottsass, l’autarchico Antonino lavora ai suoi progetti seguendoli uno ad uno personalmente.

C.FERRAUTO, “Questione di Fusion”, in, Milan, Mar 2012.


by 耿海珍

年轻而才华横溢的印象派建筑师Antonino Cardillo好用复杂的隐喻和象征性的手法,将建筑语言和雕塑般的建筑结合在一起Antonino Cardillo的建筑体块巨大,仿佛来自遥远的异乡与古国,美丽而桀骜不驯慷慨、狂热,节奏深沉而激昂,光影的瞬息万变令建筑展现着千变万化的容貌,仿佛作着灵魂最深处的展现对抗,迸发出令人震撼的美,矛盾,产生稳固的和谐。建筑结构——肢体对抗扭动的舞姿,将建筑的光影,精确地掌握及其肯定下,他的建筑仿佛是埋在石材里的弗拉明戈舞他被誉为全球伟大的天才,本时代最显著的建筑师之一。

H.GENG HAIZHEN, “Beautiful Confrontation”, in «International Interior Architecture of China», no.107, Beijing, Nov 2011, pp.30-69.

Taking position

with Ralf Broekman
and Olaf Winkler

I believe in elegance, but not luxury. I think they are two opposing visions. Elegance is the visual manifestation of a personal state of quest. Pursuing it is vain. It is just the external result of an interior elaboration. Ascetics, artists, those curious about life are elegant. Luxury is bought and sold, it is an apparent shortcut that reveals itself – to keen eyes – as a tragic parody of elegance. Luxurious architecture, therefore, is an oxymoron.

A.CARDILLO, interviewed by Ralf Broekman and Olaf Winkler, “Taking Position”, in «Build Das Architekten-Magazin», no.5/11, Wuppertal, Oct 2011, pp.44-51.

Style and Subversion

by London Design Festival

This year, as a homage to the V&A’s ‘Postmodernism: Style and Subversion 1970 - 1990’ the London Design Festival has commissioned architect Antonino Cardillo to create a spectacular Postmodern Cafe at the Exhibition Road entrance, open throughout the Festival. The London Design Festival’s dedicated entrance to the Museum plays host to the Postmodern Cafe, in homage to the masters of the movement; the cafe is a playful rendition of a colourful environment, for repose and refreshment.

The London Design Festival 2011, London, Sep 2011, pp.8,9,43,183.


by Massimo Locci

Pochi sono i giovani che fin dalle prime prove concrete riescono a tradurre sul piano operativo esecutivo l’articolazione spaziale e la ricchezza compositiva delle forme, senza smarrire la purezza dell’approccio teorico sperimentale. Quando si realizza tutto ciò appare quasi miracoloso, soprattutto se si rispetta la logica spietata del mercato edilizio che richiede rispetto massimo delle procedure, dei budget e delle tempistiche di esecuzione (in un caso addirittura un’opera di Antonino Cardillo è stata realizzata in soli 10 giorni).

M.LOCCI, “Sperimentazioni”, in «L'Architetto Italiano», no.42, Rome, Apr 2011, pp.30-33.

James Stirling

by Antonino Cardillo

The first time I came across the work of James Stirling was during my studies of Contemporary Architectural History. I still cherish the memory of seeing a black and white photo of the engineering department at Leicester University built in 1959. The hypnotic harmony – that was somehow out of balance – achieved by cantilevering the volumes of the building, seemed to make reference to the Club Risakov by Russian avant-garde architect Kostantin Melnikov.

A.CARDILLO, in Anthony Vidler, “James Frazer Stirling: Notes from the Archive”, «Blueprint», no.299, London, Feb 2011, p.58.

La promesa consolidada

with Teresa Morales

Cuando se le pregunta por Foster, Zaha Hadid, Herzog & de Meuron, responde: Soane, Le Corbusier, Kahn, Michelangelo, Neumann, Schinkel, Borromini, Mies, Bernini, Moretti, Lautner, Libera, Chernikov y Wright. Esos son mis maestros porque eran artistas no compañías. Prefiero los arquitectos del pasado. Los actuales, salvo algunos, son sólo negocio y marketing. Antonino no cree en las tendencias, ni siquiera que el reconocimiento internacional de ahora podría cambiarle su vida. Sigo viviendo en un apartamento pequeño y me muevo en scooter por Roma. La libertad no proviene de disfrutar una vida de lujos, sino de ser el dueño de tu propio tiempo.

A.CARDILLO, interviewed by Teresa Morales, “La promesa consolidada”, in, Avila, Jan 2011.

Antonino Cardillo

with Roberto Santoro

Which architecture among those you have designed up to now would you yourself prefer to live in? Why? In each of the houses I have designed, I have explored several aspects of my identity. I have often discovered some aspects of myself I could even not have imagined. I am not attached to one house in particular, but the research behind each of them is firmly linked to my life: my works are often portraits of the people I have loved.

A.CARDILLO, interviewed by Roberto Santoro, in «Slurp», no.8, Milan, Aug 2010, pp.31-34.

Values transcending time

with Ralf Broekman
and Olaf Winkler

When I was 17 I came across this phrase: “Italien ohne Sizilien macht gar kein Bild in der Seele: hier ist erst der Schlüssel zu allem”. Goethe wrote it on 13 April, 1787 in his Sicilian travel diary during his stay in Palermo. For years I have tried to understand the reason for such a neat yet at times surprising affirmation. I was walking in Palermo searching for a sense of all that pain, looking for the reason for that dying beauty. Unlike other cities which boast cleanliness and order, Palermo seems forcibly to demand what is the ultimate sense of time, the sense of history. In Palermo I breathed possible futures which never materialised, futures which remained on the contrary latent in stones, in the ground and in bodies.

A.CARDILLO, interviewed by Ralf Broekman and Olaf Winkler, “Values transcending time”, in «Build Das Architekten-Magazin», no.4/10, Wuppertal, Aug 2010, pp.41-47.

Wallpaper* unveils
an ephemeral boutique

by Malaika Byng

Wallpaper* and luxury footwear brand Sergio Rossi stepped up the fashion game during the Salone del Mobile by launching an ephemeral men’s shoe boutique in Milan, designed by acclaimed Sicilian architect Antonino Cardillo. The Cathedral-like configuration, housed within an existing store, is a work of art made from tulipiè wood and billowing velvet. It pays homage to the  ‘Sergio Rossi Man’, an independent, free-thinker, who is on a constant voyage of discovery. The temporary structure is akin to a theatre set within the dark void of the original store. Its linear forms, softened by the velvet curtains, echo modernist buildings, such as Milan’s Velasca Tower by BBPR.

M.BYNG, “Wallpaper* and Sergio Rossi unveil an ephemeral boutique in Milan”, in, London, 19 Apr 2010.

Mens footwear world tour

by Tony Chambers

Cardillo is one of the most significant architects of our time.

T.CHAMBERS, in “Mens Footwear World Tour”, [press release], Milan, Sergio Rossi, Mar 2010, p.1.

House of Twelve

with Marietta Constantinou

Cinema and music are my cultural references. They are technically linked to architecture, because both are built on time. I have little interest in contemporary architecture; that of the past fascinates me more. The architecture of the past appears unstable and mutable, because evidently it is impossible to comprehend it definitively. This gap, generated by a partial knowledge, stimulates the imagination, calling on the most obscure loops of the mind, so liberating from it unexpressed potential.

A.CARDILLO, interviewed by Marietta Constantinou, “House of Twelve”, in «Schön!», no.5, London, Mar 2010.

Ein Haus wie ein Tanz

by Judith Jenner

Wirbelnde Tellerröcke, heftige Rhythmen, klappernde Kastagnetten. Der traditionelle andalusische Flamenco hat viele Künstler inspiriert: Federico García Lorca zu Gedichten, Pablo Picasso zu Gemälden und Skulpturen – und den jungen italienischen Architekten Antonino Cardillo zu einem Haus.

J.JENNER, “Ein Haus wie ein Tanz”, in «H.O.M.E.», no.2/10, Berlin, Feb 2010, pp.120-130.

Poetry of space

by Ridhi Kale

At some point, architecture is like poetry: both require you to wander through space to appreciate it. So, if Homer had his Iliad and Odyssey, Rome based architect Antonino Cardillo has the homes he builds across the globe, interpreting his clients’ most hidden and irrational wishes. How else do you explain a house inspired by the flamenco, another by a boat, the moon or an eclipse?

R.KALE, “Poetry of Space”, in «India Today Home», Mumbai, Jan 2010, pp.46-52.

Danza de movimientos

by Karina González

Las ventanas no tienen la función de exponer el exterior, sino de crear una fusión de cavidades luminosas e iridiscentes que bañan de luz natural todas las zonas. Este concepto remite a la cultura mediterránea, en la que el exterior difícilmente se comunica con el interior y no manifiesta el contenido de manera explícita y directa, mencionó Cardillo.

K.GONZÁLEZ FAUERMAN, “Danza de Movimientos”, in «Entremuros», no.160, Mexico City, Reforma, Jan 2010, pp.31-41.

Physical poetry

by Thomson Carpenter

The first to admit to being a dreamer, Cardillo concedes to inhabiting a virtual world, a parallel universe, moreover describing his fall into architecture as a chance happening. I was 17 years old and at home in the Sicilian countryside. It was late and, amidst the warm honey-coloured hues of the afternoon sun, I spotted a small tower. Then and there I decided that I would like to build a room atop of that tower, complete with four glass walls framing the magnificent views. The next day I bought a dictionary of architecture and spent the ensuing summer reading up, with fascination, on various forms of design and the influences on it. Architecture is a place of mind.

T.CARPENTER, “Physical Poetry”, in «DNA», no.119, Sydney, Dec 2009, pp.105-106.

Architecture and reverberation

by Antonino Cardillo

Sometimes architecture is all the more interesting, the more invisible or concealed it is. When it is not only made up of that which can be seen and touched, but rather that which suggests and leaves the rest to the imagination. In some ways architecture is not just lived-in space but also imagined space.

A.CARDILLO, “Architecture and reverberation”, in «Tasarim», no.194, Istanbul, Sep 2009, pp.90-91.

Wallpaper* Architects Directory

by Johnatan Bell
and Ellie Stathaki

As if an annual sweep of the world’s most promising young architects wasn’t ambitious enough, for 2009 we’ve decided to add a new twist to the directory. Rather than simply report on the newest firms to flash onto our radar, Wallpaper* has commissioned 30 of the finest young architects to design their ideal home.

T.CHAMBERS, J.BELL, E.STATHAKI, “Architects Directory 2009”, in «Wallpaper*», no.125, London, Aug 2009, p.74-81.

V rytmu flamenco

by Lucie Červená

Antonino Cardillo se pokusil svůj dům rozpohybovat, roztančit. Ptá se: Pokud je architektura hudbou vyjádřenou ve stavebním kameni, mohou ‚ruce a nohy‘ stavby tancovat? Architektura je nehybná jen na fotografiích. Ve skutečnosti se však pořád mění. Člověk i světlo se v jejím rámci neustále pohybují. Cardillův dům plný křivek opravdu tančí.

L.CERVENÁ, “V rytmu flamenco”, in «Projekt», no.5/09, Praha, May 2009, pp.34-38.

弗拉明戈式建筑 采访

要生活在这样一幢房子里,你必须相信阳光是能够取代电视机的。从某种角度,居住在这样的房子里意味着回到一种原始的状态。不断变 化的自然光线始终是我的建筑中的关注点。这些房子就像一个个星球观 测站,不停地在它们的墙上记录着天气的万千变化。如同在音乐中,美 学感受是通过时间的流逝获得的。天气与其变幻莫测的颜色不但渲染着 房中的每一面墙,也使我们的日常生活超越了常规与重复。

A.CARDILLO, interviewed by Daniel Qiu, “弗拉明戈式建筑 采访”, in «The Outlook Magazine», no.82, Guangzhou, Feb 2009, p.44.

Emotional spaces

with Jakkrit Angsutti

When diverse positions not only meet, but they love each other, then there are born new languages. Following this path I could say that the most fertile architecture of the past has always been a giant and sexually emotional act between different cultures: therefore a great architect should always be a great lover.

A.CARDILLO, interviewed by Jakkrit Angsutti, “Emotional Spaces”, in «B1», no.15, Bangkok, Jan 2009, pp.94-99.

Demanio RE personaggi

with Luca De Giuseppe

Una passione nata sin da giovane, nutrita dai paesaggi siciliani e dalla profonda curiosità di ricerca e sperimentazione: così nasce l’amore in Antonino Cardillo per l’architettura. Accadde un tardo pomeriggio – spiega Cardillo – avevo diciassette anni. Vedendo in campagna una piccola costruzione per l’elettricità, pensai a quanto sarebbe stato bello abitare in cima ad una torre, dentro una stanza quadrata con una finestra per lato. Il giorno dopo comprai un dizionario d’architettura e passai l’estate leggendolo affascinato, come si fa con un libro che racconta di paesi lontani.

A.CARDILLO, interviewed by Luca De Giuseppe, “Demanio RE Personaggi”, Milan,, Jan 2009.

House of Convexities

by Ramia Habchy

Sensual shapes and mysterious curves and corners make up this two level spectacular “House of Convexities” created by genius architect Antonino Cardillo set in Barcelona, Spain. Natural hues and earthy rhythms combine to present a voluptuously round and delicious atmosphere that provokes delight and awe where ever one’s vision may fall. The play of light within the convex walls of this “house” create a romantic aura that envelopes visitors and transports them into a world of wonder at the inspired superiority that made this beautifully shaped structure possible.

R.HABCHY, “House of Convexities”, in «Touch Decor», no.13, Beirut, Oct 2008, pp.57-63.

Flamenco y arquitectura
House of Convexities

by Devyani Jayakar

Appearing to subscribe to the refined ambiguities of self-deprecation, he takes a stand bordering on a negation of his ego. In a profession full of flamboyant empresarios, meet Italian architect Antonino Cardillo. Which is not to say, however, that his creations are not flamboyant. You can eulogise, criticise or analyse them, but you certainly can’t ignore them – they tug insistently at your sleeve, pouring commentary into your ears.

D.JAYAKAR, “House of Convexities”, in «Inside Outside», no.280, Mumbai, Oct 2008.

Vaulted House

by Devyani Jayakar

Antonino’s signature, his ‘architectural voice,’ lies perhaps in the absolute purity and consistency of his architectural idea, the way in which he realizes spatial and structural ideals. Every physical element gets distilled to its irreducible essence. Totally uncluttered, the paraphernalia of traditional living such as pictures on walls, even personal possessions – have been virtually banished from sight. His homes are more nearly temple than dwelling, and they reward aesthetic contemplation before they fulfil domestic necessity.

D.JAYAKAR, “Vaulted House”, in «Home Review», vol.7, no.7, Mumbai, Sep 2008, pp.68-72.

Pustka do mieszkania

by Anna Krenz

Skala i dramatyzm pomieszczeń zdają się przerastać ich funkcje mieszkalne. Brak jakichkolwiek personalnych elementów skłania do refleksji, że człowiek jest tu zbędny. Konsekwentnie zaprojektowany dom wzbudza mieszane uczucia. Dla jednych to budynek o agresywnych wnętrzach, dla innych istota dynamicznego włoskiego futuryzmu z lat 20. Matt Mussey z The Cool Hunter oskarża Ellipse o arogancję i pyta, gdzie podział się człowiek. Kto czułby się dobrze w takim domu? Lunatyk z przerośniętym ego? A może marzyciel zahipnotyzowany promieniami wschodzącego słońca?

A.KRENZ, “Pustka do mieszkania”, in «Vox Design», no.8, Warsaw, Feb 2008, pp.54-57.

L'Egitto e l'immortalità perduta

by Antonino Cardillo

Tuttavia, parafrasando ciò che è stato detto da Conrad a proposito di un altro fiume, guardare una costa mentre scivola via lungo la nave è come meditare su di un enigma. È un enigma perché l’Egitto antico, nonostante ci separi una grande distanza temporale, appare tremendamente vicino alla nostra sensibilità estetica. Come in un complesso gioco di specchi, ciò che noi chiamiamo in occidente ‘Modernità’ è anche l’esito di una ricercata rielaborazione, molte volte inconscia, di questo straordinario serbatoio di visioni e contenuti chiamato ‘Oriente’.

A.CARDILLO, “L’Egitto e l’immortalità perduta”, in «Ulisse», no.279, [article+photos], Rome, Alitalia, Nov 2007, pp.12-20.

Celestial vision

by Devyani Jayakar

Utterly in command of considerable technical challenges, 32-year old architect Antonino Cardillo gives a virtuoso performance displaying great skill in this 2 level bungalow in the hills outside Rome. Magnetising the eye from the very moment you view the enormous sweeping curves in the living room, the architecture appears to be the harbinger of an epochal change in Italy’s post imperial design history. Like a futuristic fantasy, his work has the signature overtones of that icon from the pantheon of greats – Zaha Hadid – only more masculine.

D.JAYAKAR, “Celestial Vision”, in «Home Review», vol.6, no.5, Mumbai, Sep 2007, pp.60-64.

My concrete heart

by Jana Martin

Back to the Italian hillside, where this private ellipse house glares out at the shy clutch of pines. “Is it arrogant? Is it vacuous?” Matt asks us. True, you’d have to be sedated or have an ego the size of Trump to be comfortable moving through all that concrete mass and tension. But you could also be an endless daydreamer and be happy here. The view of the sky and the changing light and shadow on the interior are anything but arrogant. Despite the grand thickness, the obvious exercise in math and shape, the building plays with light. It functions as observatory. It makes slides of the moon. It considers the Earth’s place in the universe.

J.MARTIN, “My Concrete Heart”, in, New York, 20 Jul 2007.

Ellipse 1501

by Matt Hussey

Here at The Cool Hunter, we strive to bring you the most cutting edge and inspiring pieces of design. From houses to hotels, walls to wine racks, there isn’t much we haven’t covered. All under the premise, that if we like something, then, maybe you’ll like it as well. But, there comes a time when we’re not quite sure. And if we don’t like it, why are we telling you about it? This new house designed by Antonino Cardillo has stumped us good and proper. Is it just another vacuous interior that looks an awful lot like a museum? Or is it a very shrewd example of how shapes and colours interact when placed next to each other?

M.HUSSEY, “Ellipse 1501”, in, Sydney, Jul 2007.

A new form of historicism

by Antonino Cardillo

In the past ten years the ‘modern’ has been reinstated by fashion, design, interiors, cinema and music. It has become the dominant aesthetic category, undergoing at the same time a continuous erosion of meaning. Cannibalising it substitutes modern myths for antique ones, but the process remains false. The improper use of a very recent period risks altering the meaning of the original, creating a parallel and more acceptable history. Many people are stimulated by signs of a recent past and, not having the means to historicise them, reduce them to abstract icons, idealised and interchangeable. Have we codified new languages or are we taking signs, places and objects from recent history and continually re-elaborating them? Is this a new form of historicism?

A.CARDILLO, “Comment”, in «Blueprint», no.256, London, Jul 2007, p.58.










© Each author mentioned. All rights reserved.