LONDON, England — April 29th, 2015 — Behind a portal on a Georgian street in London, lives a small grey grotto. Its rugged walls, imprinted with gestures of the mason’s trowel reveal the eroticism which was conveyed in the act of construction by the ancients.
ROME, Italy — April 2014 — Crepuscular Green is an interior refurbishment of an art gallery located in San Lorenzo, Rome. The use of colour/texture is inspired by the opening scene of Richard Wagner’s Das Rheingold, which depicts a greenish dawn as seen from the depths of the river.
ROME, Italy — March 2013 — In this house classical orders and golden proportions celebrate dust. A grey base supports a ceiling of rustic plaster of the colour of the bare earth: craving for primordial caverns, for Renaissance grotesques, for baroque nymphaeums in Doria Pamphilj, for faintly Liberty façades in the streets off Via Veneto.
LONDON, England — September 13th - October 11th, 2014 — Since the Etruscan tombs, even before appearing as a structural element in the history of architecture, the Arch derived its figure from the Phallus. Inspired by the Egyptian god of fertility, MIN sculpture investigates the origin of the sacred.
MILAN, Italy — April 2012 — The store appears to the visitor almost as an enchanted palace set in a rationalist building. As in the Royal Stable of Meknes or the Mosque of Cordoba, a succession of arches define a perspective.
LONDON, England — August 2011 — Postmodern Cafe is homage to the V&A’s Postmodernism: Style and Subversion 1970-90. Like huge frescoes, two façades recall the Pre-Modern bond between painting and architecture. Vinyl graffiti refigure archetypal themes of tympanum and arch.
LONDON, England — February 2009 — From the palace of Akhenaton to the projects of Mies, past is full of examples of courtyard houses. This mode of living brings into question the need to define an ‘external’. So, rather than identify itself with its shell, the building finds its essence within, where the parts of the composition can speak to each other inside a patio, creating a dialogue that recalls the cities of a pre-modern Mediterranean.
LONDON, England — November 18th, 2013 — Long ago, mankind celebrated the mystery of creation by constructing houses for invisible beings called Gods. Architecture transfigured trees and stones into something grandiose and communicative. It was a universal language, like music, and following this rationale the most ancient traditions were stratified.
ROME, Italy — March 2007 — Near a rocky slope, behind a thick blanket of pines, lives a house in the shape of a tower. It is not round, but its geometric set-up dilates toward east and west to welcome in the low, warm, extended light of the sun at dawn and dusk.
PARMA, Italy — January 2008 — Silences are not all alike. The silence of a large nave is different from that of a room. And the outdoor sounds of the countryside perceived through a great silence can be yet more diverse.
BARCELONA, Spain — March 2008 — Inside a house among coarse Mediterranean glades and corrugated stone walls, a slanting light, pierced by innumerable narrow repeated blades, inscribes and describes the walls with its impermanent, mutable hand.
NIMES, France — July 2008 — Research, often, is a path orientated by incoherent choices, and yet the willingness to be permeated by the unexpected often reveals new keys to the comprehension of reality, which, being by its very nature constructed from a geography and from a relatively infinite time, is unstable, insecure and imponderable.
MELBOURNE, Australia — October 2008 — Secretly, everyone is attracted to what he is afraid of and sometimes fear reawakens desires that cannot be confessed. We remain perturbed, recognising that in remote parts of our interior universe resides an apparent otherness.
MELBOURNE, Australia — May 2009 — It was the ruins of ancient Rome that inspired this project, those unpredictable warps that in the eighteenth century appeared to European travellers on the Grand Tour as fantastic visions.
PEMBROKESHIRE, Wales — October 2011 — Purple House represents an unconscious trip into the Norman legacy: what were the forgotten exchanges between England, Wales, Ireland and Sicily?
ROME, Italy — January 2011 — “La casa corrisponde ad un principio di identità. È materia complessa, fatta di intimità, di praticità e gioco, di ricordi e progettualità. Ascoltare e organizzare nello spazio è stato il senso di una collaborazione. In un’assonanza costruita nel dialogo, Antonino ha compreso un modo di essere, un ritmo.” — Francesco Pignataro
MILAN, Italy — April 12nd, 2010 — The idea of the insertion of a building into another is a recurring theme in the architecture of the past. From the medieval schola cantorum, to the fifteenth century of Leon Battista Alberti, to the Baroque experiences of the rooms of light and of the theatrical stage set, up to the neoclassical canopies of John Soane.
TAKARAZUKA, Japan — March 2010 — Two right-angled systems find their connection on the third side, on the road, defining in elevation a faceted shape. Its diverse surfaces mutate the intensity of the light according to the incidence of the sun. Inside, on the first floor, a large polygonal living room with seven sides possesses the inexact quality of certain medieval Italian piazzas.
WESTON-SUPER-MARE, England — October 2007 — Like a big naval vessel, a curved shape embraces all the diverse elements of the composition, which counterpoints the new tall buildings. In each of their narrow frontages, at the top, a big window marks the seascape creating a panorama like multitude of lighthouses.
TRAPANI, Sicily — December 2001 — Having to be at least in intention a lasting phenomenon, architecture ‘puts up with’ entertainment. Entertainment is ephemeral, mutable, and a building that tries to fix the shape of a space in time is destined almost always to fail. Is an architecture of amusement possible then?
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