Works







Paradiso

2018



"Seine Bauwerke sind ein Konglomerat aus Mythen, Märchen und Vorstellungsbildern unterschiedlicher Epochen und Kulturen. Er will eine Architektur des Unbewussten schaffen, inspiriert von einem seiner großen Vorbilder, dem Schweizer Psychologen C. G. Jung." — Tim Berge







Antonino Cardillo, Off Club Japanese-Italian restaurant bar, Rome, 2018.

Off Club

ROME, Italy — Jun 2018

A walled garden of golden shadows and black mirrors.






Four grottoes

2016 – 2013



"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." — Ana Araujo







Antonino Cardillo, Specus Corallii, Cathedral of Trapani, 2016.

Specus Corallii

TRAPANI, Italy — Sep 2016 — Sala Laurentina, Cattedrale di Trapani

The Coral Cave is a refuge from the world. A grotto where love can still happen.




Antonino Cardillo, Illuminum Fragrance, London Mayfair, 2015.

Colour as a Narrative

LONDON, UK — Apr 2015 — Illuminum Fragrance / Wallpaper* Magazine

Behind a portal on a Georgian street in London, lives a small grey grotto.




Antonino Cardillo, Crepuscular Green, Mondrian Suite, Rome, 2014.

Crepuscular Green

ROME, Italy — Apr 2014 — Mondrian Suite Gallery

Crepuscular Green depicts a greenish dawn as seen from the depths of the river.




Antonino Cardillo, House of Dust, Rome, 2013.

House of Dust

ROME, Italy — Mar 2013

In this house classical orders and golden proportions celebrate dust.






Arches

2014 – 2009



"In their unlikely arrangement the arches follow a spatial logic akin to the one of the picturesque garden. They trick your expectations; they point to another world." — Ana Araujo







Antonino Cardillo, MIN, Sir John Soane's Museum, London, 2014.

Min

LONDON, UK — Sep 2014 — Sir John Soane's Museum

Since the Etruscan tombs, even before appearing as a structural element in the history of architecture, the arch derived its figure from the Phallus.




Antonino Cardillo, Arcade Store, Milan, 2012.

Arcade

MILAN, Italy — Apr 2012

The arch rediscovers its double value of connection and separation of parts.




Antonino Cardillo, Postmodern Cafe, V&A Museum, London, 2011.

Postmodern Cafe

LONDON, UK — Aug 2011 — Victoria & Albert Museum / Wallpaper* Magazine

Postmodern Cafe is homage to the V&A’s Postmodernism: Style and Subversion 1970-90.




Antonino Cardillo, Sergio Rossi, with Wallpaper*, Milan Brera, 2010.

Akin to a Cinema Set

MILAN, Italy — Apr 2010 — Sergio Rossi / Wallpaper* Magazine

This is an exciting and significant collaboration for Wallpaper* and this is a must-see store.




Antonino Cardillo, Model House Wallpaper* Architects Directory, 2009.

House for Wallpaper*

LONDON, UK — Feb 2009 — Wallpaper* Magazine

We’ve identified and profiled the world’s 30 most talented young architectural practices.






Houses for no one

2011 – 2007



"His seven imagined houses, which were conceived of from the start as a series, were not only convincing through perfect illusion. Their exceptional architecture, colour palette and fine details are so pleasing that perhaps the question of authenticity was not one that should ever have been raised." — Jeanette Kunsmann with Stephan Burkoff







Antonino Cardillo, Purple House, Pembrokeshire, 2011.

VII — Purple House

PEMBROKESHIRE, UK — Oct 2011

Purple House represents an unconscious trip into the Norman legacy: what were the forgotten exchanges between England, Wales, Ireland and Sicily?




Antonino Cardillo, House of Twelve, Melbourne Kew, 2009.

VI — House of Twelve

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.




Antonino Cardillo, Concrete Moon House, Melbourne Kew, 2008.

V — Concrete Moon House

MELBOURNE, Australia — Oct 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.




Antonino Cardillo, Max's House in a Small Lake, Nimes, 2008.

IV — Max's House in a Small Lake

NIMES, France — Jul 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.




Antonino Cardillo, House of Convexities, Barcelona, 2008.

III — House of Convexities

BARCELONA, Spain — Mar 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.




Antonino Cardillo, Vaulted House, Parma Felino, 2008.

II — Vaulted House

PARMA, Italy — Jan 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.




Antonino Cardillo, Ellipse 1501 House, Rome, 2007.

I — Ellipse 1501 House

ROME, Italy — Mar 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.



Copyright © Antonino Cardillo. All rights reserved.