History teaches that, often, characters and important works are recognised by historiography only after many decades and, on the other hand, not always works that gain consensus in the immediate, appear relevant in a historical perspective.
Il Giornale dell’Architettura, no. 53, Turin, July 2007, p. 18. (it)
It happened a late afternoon, I was seventeen years old. Seeing a small construction for electricity in the countryside, I thought about how nice it would be to live on top of a tower. The next day I bought an architecture dictionary and spent the summer reading it, as is done with a book that tells of distant countries.
demaniore.com, ed. Luca De Giuseppe, Il Sole 24 Ore Casa, Milan, Jan. 2009. (it)
We cannot decide whether Specus Corallii looks more like emerging from the depths of the ocean or whether it is the image of the ocean itself which on the distant horizon coincides with the sky as if they are reaching their love-making peak.
‘Specus Corallii’, in Architecture and Eroticism. An Imaginary Wandering, thesis, Tutor Apostolos Kalfopoulos, School of Architecture, Aristotle University of Thessaloniki, June 2019, pp. 80‑117. (el, en)
Sicily is a magical and wonderful place, where there are mafia, beautiful legends, large olive groves and sunshine scattered on towns and beaches. And… my favourite Italian architect, Antonio Cardillo?
Antonino Cardillo is dedicated to a design with centuries of tradition: the artificial grotto, which he translates into contemporary forms. Offshoots of his poetic spaces exist in London and Rome. The latest was now created in Sicily.
AD Architectural Digest, no. 178, Munich, Apr. 2017, p. 163. (de)
Trapani has recently earned a new pearl for its historic centre. In 2016 the work of restoration and total architectural re-design of a very old and historic building located in Via Generale Domenico Giglio, 12, a stone’s throw from the Cathedral of S. Lorenzo Martire.
Strenna d’Agosto 2016, La Ragnatela, Rome, March 2017, pp. 305‑307. (it)
Antonino Cardillo masters the art of telling stories through spaces and materials: the world remains a labyrinth of memories, the architect is a time traveller — and architecture becomes stupefaction.
The scabrosity of the pozzolana, used for millennia as a coating, cancels, with its chiaroscuro effects due to the particular technique of rinzaffo, the detachment of the corners of conjunction between the roof and the walls, evoking the aerial quality of the sacred place once had to possess.
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.
Cardillo breaks boundaries, shatters familiar patterns and infuses his works with a unique individual character with a new language based on classical principles. However, it is quite clear that this new aesthetic language is not easy to digest and understand, and is not intended for everyone, it is very far from the mainstream, deep, different and different, in the way of groundbreaking works.
Trend, no. 141, Tel Aviv, March 2014, p. 180. (he)
For the architect, architecture becomes exciting at the point where it becomes “invisible or hides something” and exists on the border “to the dream” — he has realised exactly that into reality with his house made of dust.
designlines.de, BauNetz, Berlin, 13 Aug. 2013. (de)
In fact, Cardillo is right here at its core, because as this essay also wanted to show, images of unrealised and utopian architectures can become an integral part of architectural history and not insignificantly influence it.
iacsa.eu, vol. 4, no. 1, Basel, May 2013, p. 11. (de)
Cardillo, who meticulously lists all these press reports on his website, only holds up the mirror to the architectural media and refers to a fundamental problem: How should young architects get to a builder without having published beforehand?
Or how we are constructing our reality from the material and the imaginary through the media today and what consequences this has. No simple questions, really. If the Cardillo case now served to seriously discuss at least one of these questions again, it might have done more for the architectural discourse than those who think they always have the answer to them.
german-architects.com, Stuttgart, 29 July 2012. (de)
Incidentally, architecture has always been ephemeral and virtual, he explains. From Palladio to Schinkel, from Sant’Elia to Mies van der Rohe, architects influenced architectural development and changed reality with ideas in the form of surrogates.
Neue Zürcher Zeitung, no. 164, Zurich, 17 July 2012, p. 40. (de)
When Felix Krull was young, he thought for a long time about whether he should see the world small or big. According to his ‘nature’, he then respected the world for a great and infinitely tempting appearance in his later life. He became the happiest impostor in literary history.
Der Spiegel, no. 27/12, Hamburg, 2 July 2012, p. 121. (de, it)
Visitors can remove the cork stoppers to sample the fragrances, and in an environment stripped of colour, graphics, names, ingredients, the scents are able to capture their full attention, the essences being perceived purely intuitively.
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.
Differently from the [William Morris’] Red House in London which represents the search for a national British identity, Purple House tries to recall the forgotten routes between Mediterranean and Britain shorelines.
Inside Outside, no. 315, Mumbai, Sept. 2011, pp. 147‑148. (en)
“In contemporary architecture, a lack of idea is often masked by the use of overwhelming materials. I am not interested in today’s architecture,” says the architect. “I am fascinated by old architecture that we cannot fully understand and thus stimulates our imagination.”
Projekt, no. 9/10, Prague, Sept. 2010, pp. 28‑37. (cs)
The traditional Andalusian flamenco has inspired many artists: Federico García Lorca on poems, Pablo Picasso on paintings and sculptures — and the young Italian architect Antonino Cardillo to a house.
H.O.M.E., no. 2/10, Berlin, Feb. 2010, p. 126. (de)
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.
We’d all like a bit more space around the house. We’re not talking Changing Rooms-style wall hangings and naff trompe l’oeil — we mean golf club-swinging, echo-inducing caverns that make you wish you’d mastered acrobatic gymnastics whenever you walk into them.
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 .
Inside Outside, no. 280, Mumbai, Oct. 2008, p. 119. (en)
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.
Home Review, vol. 6, no. 5, Mumbai, Sept. 2007, p. 60. (en)