Works

Architecture is a perceptual phenomenon. Its occurrence in the world is also the consequence of a historiography. A stratigraphy of interpretations extended over time that defines the existence of a work.

The House of Ariadne near Lake Garda is in the form of a miniature palazzo, featuring a rectangular marble living room with a cuspidated ceiling.

Through a small passage, I enter a long living room with a trompe‑l’oeil façade that frames—inside a perspective of arches—an imaginary landscape.

The embarcadero for the Stagnone Lagoon and the island of Motya at the Ettore and Infersa Salt Pans.

These works explore the idea of a sacred universe, where cultures and civilisations, ancient and recent, come together in singularities that tell of how the Psyche has diversified and projected its contents in the different eras and different places of the world.

According to Jung, the alchemical process of the philosopher’s stone that led to gold was the unconscious projection of an instance of spiritual and therefore psychological transformation.⁠

The nightclub Off Club in Casal Bertone with golden rough plaster vault and black iconostasis with arches.

My youth was populated with symbols which came from an ancient past. My imagination was also moulded by the desires of people that inhabited the island long time ago.

The oratory Sala Laurentina of the Cattedrale di San Lorenzo with green archway, pink rough plaster and silver rectangle of limestone.

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 beautiness is part of our memory, giving sense to the permanence of the mankind on the Earth. Thus references can become testimonials of love, beyond the death.

Series of seven sculptures which relate the arch to the phallus part of the LDF exhibition Space and Light at Sir John Soane’s Museum

The ‘words’ Vault, Grotto and Arch still inhabit our imagination. They embody archetypes that still move us today. According to Heidegger, “language is the house of the Being”, so, its happening in time could reveal to us the hidden structure of that historicity that it makes possible.

The perfume shop Illuminum on Dover Street in Mayfair ward with grey rough plaster grotto and silk carpet plus olfactory glass bowls.

The Mondrian Suite art gallery on Via dei Piceni in Rione San Lorenzo with golden green rough plaster and arched mirror altar with black trumpets lamps.

I work alone. At a bench overlooking a valley; biding my time in the streets. Elsewhere, in a park, listening to the rippling waters of a fountain late at night; searching for feelings. Crawling toward the places where architecture lies asleep. Architecture is an idea and ideas are tardy; they are waiting for you on a lazy afternoon, wandering somewhere.

The apartment near to Via Veneto and Villa Borghese, with brown rough plaster and series of pink arched doors.

Architecture is dust. Dust that becomes form, Dust transfigured by the mind.

The commissioned by Wallpaper* editor-at-large Suzanne Trocmé London Design Festival entrance to the Victoria & Albert Museum exhibition ‘Postmodernism: Style and Subversion 1970–90’.

A two-level wooden residential building on a trapezoidal plot commissioned by construction company Nomura Koumuten overlooking Osaka Bay.

The commissioned by Wallpaper* editor-at-large Suzanne Trocmé Sergio Rossi shoe store in Brera district with blue background, grey carpet, timber frame enclosure, fluorescent tubes and Joe Colombo’s lamps.

The Wallpaper* architects directory model house exhibited in the Berlin Neues Museum and the Rotterdam Chabot Museum, with vault, courtyard and golden plaster.

In the past 10 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.

If you have power, you can influence other people. If you love, you destroy yourself. From a psychological point of view, love is a very dangerous disease. Love is merely an illusion. Just like architecture: merely an illusion! But at the same time, love is more real than reality.

The seventh instalment in the ‘For No One’ collection, this expressionistic abode of sculpture embarks on a voyage into the legacy of the Normans. It engages with light to manipulate perception, offering an exploration of history.

Architecture fascinates when it contains in itself ‘remote places’, where the separation, rather than physical, becomes an expression of the unknown, of the unreal, in short of dreams.

The sixth instalment in the ‘For No One’ collection, this architectural project embarks on a journey into the ruins of ancient Rome. It engages with light to manipulate perception, proposing an exploration of the progressive mutation of contemporary ideas and those of late antiquity.

Maybe the city is a gigantic pack of cards, a corrupt deck, and if history were linear, clear and intelligible, the art within it would have no reason to exist. Beauty always has a bastard quality and sometimes the most profound, the truest art lies in the distortion of reality.

The fifth instalment in the ‘For No One’ collection, this dwelling embarks on a voyage into the realm of fear and unconfessed desires. It engages with light to manipulate perception, proposing an exploration of diverse formal identities.

The fourth instalment in the ‘For No One’ collection, this lakeside retreat embarks on a journey into the unpredictability of reality. It engages with light to manipulate perception, proposing an exploration of the transfiguration of a boat set against the wooded banks of a little lake.

The third instalment in the ‘For No One’ collection, this structure embarks on a voyage into the realm of transition and movement. It engages with light to manipulate perception, proposing an exploration of the changing colours of the celestial hemisphere.

The second instalment in the ‘For No One’ collection, this tower-like dwelling embarks on a journey into the realm of silence and sound. It engages with light to manipulate perception, proposing an exploration of the mutable architecture articulated by the passing time.

Whether or not Egyptians were aware of it, here History was undoubtedly born. But its opposite was also born, namely the possibility of changing the truth by re‑writing history.

The first instalment in the ‘For No One’ collection, this elliptical tower embarks on a voyage into the realm of geometry and light. It engages with light to manipulate perception, proposing an exploration of the mutable architecture and its relationship with the changing sky.