Anthology

This is a strong reference to the archetype, one which is considered as the need to return to the origin of things.

Questo è il ristorante più bello di Roma.

The Sicilian architect Antonino Cardillo just unveiled his latest masterpiece, the Off Club in Rome.

Wie kaum ein anderer schafft es Cardillo mit seiner Architektur, den Nutzer physisch wie psychisch in seine Gedankenwelt zu involvieren.

A long-time Wallpaper* collaborator, Antonino Cardillo’s latest oeuvre marks a defining moment for the Sicilian architect, who is not afraid to reference numerous influences under one explicitly textured roof.

Very few architects outside the three superstars of the industry (Libeskind, Hadid and Koolhaas) have attracted as much attention from the international press and trade magazines as Antonino Cardillo.

Auf Sizilien sind neben antiken Tempeln, normannischen Domen und barocken Palazzi inzwischen auch spannende Beispiele moderner Architektur zu bewundern wie z.B. Antonino Cardillos Specus Corallii in Trapani.

This space evokes love and loss, nostalgia, melancholy, and life’s most essential inaudible philosophies. Most importantly, this long dark cave can certainly be trusted.

Gli spazi che ha progettato rendono palese l’incolmabile distanza che li separa da quanto evocano—essendo peraltro la misurazione della lontananza il significato più proprio dell’evocazione.

Antonino Cardillo challenges the very norms of the architectural process as we have popularly come to know it.

The wooden inlay in the oratory floor, [...] represents the final destination in the journey and expresses the peaceful stability of a safe haven.

Antonino Cardillo beherrscht die Kunst, durch Räume und Materialien Geschichten zu erzählen: Die Welt bleibt ein Labyrinth aus Erinnerungen, der Architekt ist ein Zeitreisender—und Architektur wird zum Rausch.

A fondale, una nicchia come un mihrab: “nell’idea dell’architettura come dimensione sacra ed universale.”

Italian architect Antonino Cardillo has coated the walls of a vaulted chamber-music and events space in lumpy coral-pink, grey and green plasterwork.

Any act of beauty is a shard of love en route for a stranger.

The alienation of the material using the devices of color and texture surprises and, at the same time, generates a feeling of security.

His understanding of space and balance has resulted in some of the most influential interiors of recent times.

Cardillo is the guy behind one of our favorite interiors projects in recent memory, the House of Dust.

Antonino Cardillo looked to the colours and textures used in the opening scene of Richard Wagner’s Das Rheingold opera.

Cette œuvre architecturale aussi inattendue soit-elle traduit un certain dualisme où les formes ordonnées du contenant se heurtent aux imperfections des contenus.

A new author who has carved out a place entirely his own in the history of this discipline within just a few years.

Somewhere on Dover Street, [...] there lies a fairy tale grotto filled with tranquillity and calm.

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.

Italian architect Antonino Cardillo has created a multi-sensory space for experiencing and buying fragrance by coating a room inside an old London building with volcanic ash.

Cardillo links shadows and mysteries to the creation of a sense of eroticism.

Una dimensione apparentemente fuori dal tempo, che qui sembra essersi fermato o mai trascorso, sospeso, immobile.

Mit 40 Quadratmetern eher überschaubar, hat der Architekt die Galerie in einen sakralen Raum verwandelt—und eine mutige Abwechslung zum ewigen White Cube geschaffen.

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.

It is purposely reminiscent of all kinds of subliminal historical references, in particular the vault of very early architecture.

Cardillo’s architecture promotes the sensorial mobilisation envisioned by Benjamin as a potential force for social/political transformation.

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.

El arquitecto siciliano se sirve del color para ilustrar el camino de la humanidad: “de la gruta a la rosa” como expresión máxima de lo sublime.

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.

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.

Für den Architekten wird Architektur an der Stelle spannend, wo sie „unsichtbar wird oder etwas verbirgt“ und an der Grenze „zum Traum“ existiert—mit seinem Haus aus Staub hat er genau das in die Wirklichkeit umgesetzt.

Italian architect Antonino Cardillo used roughly textured plaster to create lumpy brown surfaces across the upper walls and ceilings of this apartment in Rome.

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.

Architecture regresses into entertainment. 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.

Auch die Architektur hatte ihren Relotius. Antonino Cardillo gab Renderings als Bauwerke aus und narrte so die Fachpresse. Als Meister der Inszenierung fasziniert er die Branche bis heute.

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.“

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.

A me sembra che voi cercate in me delle cose che sono però dentro di voi, nella vostra testa, nel vostro immaginario.

Es war einmal ein junger Architekt, der auszog, um die Welt zu erobern. [...] Seine Architektur existierte lediglich als Simulation.

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.

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.

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.

Gefragt, ob die Fotos echt seien, gibt es die knappe Antwort: „I am an artist and as an artist I manipulate reality!“

To complement the V&A’s keynote exhibition Postmodernism: Style and Subversion 1970–90, the LDF invites you to the specially commissioned Postmodern Cafe, designed by architect Antonino Cardillo.

Nella fase realizzativa si attua un processo di decantazione di segni e una sistematizzazione del metodo così efficace che il linguaggio appare chiarito e rafforzato.

アントニオさん と協議を重ねて作り上げたものなので、我々の最も思い入れ深い作品の一つになって います。そして、アントニオさんの魅力が引き出された住まいになっていると思いま す。今回、アントニオさんのこだわり、デザイン性等、本当に勉強になったと感じて います。

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

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.

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。

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.

Romance with space works when the architect locates and positions his thoughts not merely in the physical, but emotional, cultural and social space as well.

He designs space as if he composed music.

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.

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.”

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.

Sometimes architecture is all the more interesting, the more invisible or concealed it is.

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。

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.

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.

It functions as observatory. It makes slides of the moon. It considers the Earth’s place in the universe.

This new house designed by Antonino Cardillo has stumped us good and proper.

Near a rocky slope, behind a thick blanket of pines, lives a house in the shape of a tower.

The history of man has developed through continuous interaction between different cultures. It often happens that the dominant take possession of the submissive, managing to disguise the process by rewriting history.

“Ogni occhio ti vede di fronte a sé, perché tu sei il Disco del giorno; ma quando tu tramonti e tutti gli occhi per i quali hai creato la vista non possono vedere te e quello che tu hai creato, tu sei ancora nel mio cuore.”