Casa Polly Is a Playful Fusion of Brutalism and Pop Art in Rome

Palazzo delle Pietre, a 15th-century building in Rome's historic Campo Marzio district, offers a unique hospitality experience that blends ancient Roman history with modern design. Owner and collector Carlo Mazzi transformed the time-worn structure, which sits atop the ancient Baths of Nero, into a collection of luxury serviced apartments. The restoration, completed over seven years, aimed to create a space that fosters a "conversation between past and future," embodying the ancient concept of _Civis Romanus sum_—that one becomes a Roman citizen through elective affinity rather than birth. The property features 10 unique apartments, ranging from intimate studios to expansive penthouses, each meticulously designed to serve as a private home for sophisticated, art-loving travelers. Mazzi's extensive collection of approximately 200 archaeological finds and 50 Renaissance-era pieces is distributed throughout the common areas and apartments, creating a continuous dialogue with contemporary design elements. Guests will find modern furnishings and lighting, such as Harry Bertoia chairs by Knoll, desks by De Padova, and Artemide lights, juxtaposed with antique wooden headboards, restored doors, and Roman stone fragments. The interior design emphasizes material richness, incorporating at least ten different types of marble, including rare book-matched slabs, alongside vaulted ceilings and travertine doorways. Textiles from Lo Studio di Beatrice Petriccione di Vadi soften the architectural geometry of stone and wood. Each apartment is fully equipped with bespoke items, including Richard Ginori porcelain, allowing guests to immerse themselves in daily Roman life while benefiting from hotel-like services such as concierge assistance, spa appointments, and event space access. Notable accommodations include the "Penthouse Apartment" and "La Corte Rooftop Terrace," a split-level residence with panoramic views and a private hammam. The property's strategic location on Via delle Coppelle places guests within walking distance of iconic Roman landmarks such as Piazza Navona, the Pantheon, and Caravaggio's masterpieces, yet it maintains a distinct neighborhood feel away from chaotic tourist hubs. This provides an authentic Roman living experience where history, art, and artisan culture converge. Palazzo delle Pietre also cultivates a vibrant cultural atmosphere through its "FraMmenti Club," which hosts monthly events, talks, and salons designed to foster social cohesion and revive the spirit of ancient Roman academies. Wellness facilities are integrated with artistic flair; the fitness room is uniquely adorned with original Andy Warhol Marilyn portraits, contrasting with the ancient surroundings. The communal wellness area features a hammam with green mosaics and a massage room clad in warm yellow marble, underscoring the property’s commitment to an artful and luxurious guest experience. The establishment aims to offer a discreet and unique hospitality choice, enabling travelers to feel like citizens rather than mere tourists in a city that continually evolves. #LuxuryTravel #RomanHistory #ModernDesign #BoutiqueHotel #ArtCollection #ItalyTravel #InteriorDesign #CulturalImmersion #PalazzoDellePietre

The article reviews Tatiana Trouvé's exhibition, "The Strange Life of Things," at the Palazzo Grassi in Venice. Trouvé, an Italian-born artist residing in Paris, is known for transforming everyday objects and overlooked elements of reality into profound works of art. Her exhibition showcases a unique approach to art-making, where detritus and architectural components are recontextualized and re-materialized to challenge perceptions of value and beauty. The core of Trouvé's practice involves starting with aspects of reality typically not considered high in value, beauty, or importance, such as urban debris, discarded items, or mundane architectural elements. She collects these materials, which can include pieces of trash, leftover implements, piles of clothes, pieces of string, and even manhole covers. Instead of conventional artistic interpretations like representation or abstraction, Trouvé transforms these items by altering their site or material. For instance, dirty detritus is recast in bronze, elevating its status to that of sculpture. The original textures and forms of these materials are preserved in the bronze finish, imbuing the finished compositions with a monolithic and monumental quality. Beyond transforming found objects, Trouvé also engages with raw plaster, creating three-dimensional, expressive landscapes from what would typically be a smooth background. Her plaster works monumentalize the ordinary, turning simple surfaces into evocative art pieces through swirls and textures. This technique highlights her ability to flip traditional artistic hierarchies, making the background an active and central element of a composition. This transformative process demonstrates her unique vision in finding expressiveness in unexpected materials. The exhibition extends beyond object transformation to include spatial illusions and deconstructions of the gallery environment. Trouvé manipulates space using elements like angled mirrors and miniature doors. An angled mirror, for example, guides the viewer's eye to a smaller glass plane, creating an optical illusion that distorts perception. A child-sized door, complete with scaled-down hardware, invites contemplation of an artificial and unsettling space, questioning the reality of what lies beyond. These spatial interventions engage the viewer in a direct and experiential way, making them active participants in the artwork. Trouvé also critically engages with the architecture of the Palazzo Grassi itself. She deconstructs the gallery walls by removing their finished top layers, exposing the underlying construction—the slapdash paint or assembly of drywall. This act transforms the hidden, unfinished aspects of the building into intentional artistic compositions. Rather than adding or building up, she incises and reveals what is already present, making the inherent structure of the building a part of her artistic statement. This process highlights the often-overlooked history and materiality of architectural spaces. Another significant aspect of her work involves the poetic manipulation of light and material, such as stretching burlap over windows and walls in the upstairs gallery. This technique reduces light and dark, creating an inner façade that oscillates between scrim and object. By painting the surrounding walls and floor in a similar brown hue, she blurs edges and further integrates the fabric into the space. She also applies broad strokes of white paint to the burlap, enhancing its interplay with light and shadow. In some instances, she deliberately pries apart the fabric, creating a "zipper" effect that adds another layer of intervention. The exhibition's strength lies in its ability to inspire wonder through seemingly simple means and to reveal beauty in the 'abject'—items or elements typically deemed valueless or undesirable. #TatianaTrouve #PalazzoGrassi #ArtExhibitions #InstallationArt #MaterialTransformation #FoundObjects #SpatialIllusion #ArchitecturalDeconstruction #VeniceArt

Artemest's L’Appartamento exhibition, held during Milan Design Week, transformed a 20th-century Milanese mansion into a showcase of Italian craftsmanship through decorative interventions by six international interior designers. Each designer reimagined a room, creating immersive vignettes that seamlessly integrated with the mansion's authentic character while exclusively featuring contemporary art and furnishings from Italian artisans available through Artemest. The exhibition provided a unique platform for designers to blend their individual styles with Italian design heritage. Studio Meshary AlNassar curated the Entryway, infusing it with warm earthen tones inspired by Gulf landscapes. This space featured silhouettes reminiscent of classical colonnades, illuminated by a chandelier adorned with Murano glass sunflowers, setting an inviting and exotic ambiance upon entry. The adjacent Flower Room adopted a dreamlike aesthetic, utilizing pastel hues. It was further enhanced with Art Deco steles and mouth-blown vases, brimming with vibrant floral arrangements that lent an ethereal quality to the space. Elicyon designed the Cocktail Room, where playful bohemian textural expressions paid homage to the building's historical grandeur. This room was characterized by sensorial textural depth, exemplified by a long-hair fur lounge chair and wall-mounted rugs, creating a luxurious and inviting atmosphere. VSHD's Dining Room presented a striking juxtaposition of styles, blending minimalist modernism with richly ornamental baroque aesthetics. A whimsical paper chair was deliberately placed alongside Luciano Baldessari's Futurist floor lamp, creating an eclectic and dynamic dialogue between eras and design philosophies. Rottet Studio's classical Living Room embraced traditional elements such as wooden parquets, gilded brocade walls, and celadon wainscotting. This historical backdrop was enriched with contemporary touches like Venetian glass accents, a pyrite- and Cubism-inspired cabinet, and a dichroic glass table, which dynamically refracted light throughout the room, adding a modern sparkle to the classic setting. Tamara Feldman's Bedroom drew inspiration from Mexican haciendas, featuring robust terracotta textures and saturated red walls. The space was enlivened by biophilic elements, with glimpses of botanicals, natural wood, and stone, complemented by yellow and green hues that mirrored the foliage outside, connecting the interior with nature. The exhibition extended outdoors with GACHOT's Courtyard, conceived as a verdant extension of the interior spaces. This intimate outdoor living room offered lounge and dining areas, alongside a bar, all enveloped by local blossoms. A fire pit sculpted from local Dolomia stone served as a focal point, harmonizing with the delicate Murano drinking glasses and the rich burgundy tones of an iron bowl, creating a sophisticated and relaxing outdoor environment. This comprehensive exhibition highlighted the versatility of Italian craftsmanship and the innovative approaches of international designers in a historically rich setting. #MilanDesignWeek #Artemest #ItalianCraftsmanship #InteriorDesign #EclecticShowHouse #MansionInteriors #ContemporaryArt #MilaneseArchitecture

STUDIOTAMAT undertook a comprehensive renovation of Casa Rude, a 120-square-meter Brutalist-inspired apartment with a 40-square-meter terrace located in the suburbs of Rome, specifically in Tor de’ Cenci. This project was designed for a lawyer couple seeking a departure from their previous small city apartments, desiring a residence filled with natural light, original character, and modern amenities, all while overlooking the Castelporziano Nature Reserve, providing both wooded and sea views. The design philosophy centered on enhancing the distinctive features of the 1980s terraced building, aiming to re-establish spatial fluidity and highlight existing materials and details as a foundation for a new aesthetic vision. The main living area was conceived as an open-plan loft, characterized by unfinished walls and exposed concrete elements from the building's support structure, which serve to visually interconnect the various spaces. This raw, Brutalist foundation is harmoniously combined with a diverse palette of tones, textures, and materials, creating a visually engaging environment. The coarse texture of terracotta tiles on the oval kitchen island and the concrete pillars provides a striking contrast with the smooth, elegant Patagonia marble countertops that link these elements. Custom design pieces are integrated throughout the apartment, such as a dining table featuring a Shou sugi treated wood top, supported by a black base and a glossy red ceramic leg, introducing a sleek, modern touch. Functionality is addressed through a large, birch wood cube that acts as a multifunctional unit, ingeniously concealing a pantry, offering coat storage, providing additional storage solutions, and housing a television. In the home office area, a wall constructed from perforated bricks facilitates the passage of natural light while maintaining a subtle separation from the living room. A custom-designed desk extends from built-in shelves and is supported by a circular red wheel, which echoes the design element of the dining table and allows the desk to be repositioned along a track. A pivoting door strategically separates the communal areas from the private sleeping quarters, which include a main bedroom with an en-suite bathroom and a guest room. Within the primary bedroom, ribbed glass sliding doors offer a balance of privacy and natural light for the bathroom space. The terrace, an expansive outdoor area, is equipped with an outdoor kitchen, multiple seating zones, a dining area, and an outdoor shower, all positioned to maximize the enjoyment of sunset views. #BrutalistArchitecture #ApartmentRenovation #RomeInteriors #STUDIOTAMAT #ModernDesign #InteriorArchitecture #CustomFurniture #OutdoorLiving #PatagoniaMarble

Colorado-born painter Sierra Montoya Barela transforms the ordinary scenes of home life into vibrant, surreal artworks. Her artistic approach elevates mundane objects such as houseplants, pancakes, and slices of birthday cake into subjects of profound interest. Barela’s background in product design for homeware, specifically with Urban Outfitters Home and West Elm Kids, significantly influences her paintings. This professional experience is evident in her keen eye for depicting various domestic items like mirrors, shelves, vases, chairs, and tables, which frequently appear in her compositions. She employs a curatorial sensibility in arranging these elements, utilizing exaggerated colors and intricate, often clashing, patterns to create a dynamic visual experience. The artist’s work is characterized by a heightened sense of reality, blurring the lines between a painted image and a tangible scene. For instance, a blue sky with fluffy clouds might be rendered in a way that makes it ambiguous whether it is a window revealing an outdoor view or a painting hanging on an interior wall. Barela explains that her fascination stems from the diverse ways individuals create comfort and personalize their living spaces. She aims to imbue everyday objects with significance, highlighting their role in our lives. In some of her pieces, Barela intentionally disrupts the tranquility of domestic scenes through the use of flattened perspectives or by incorporating visual 'windows' that open into entirely different worlds. Plants often take center stage in her paintings, functioning not merely as decorative elements but as symbolic representations of life, akin to human figures in a portrait. Barela notes that the care and placement of plants in homes, along with the choice of vessels for them, reflect human desires for well-being and aesthetic pleasure. Furthermore, her use of certain plants, ornate tile work, clay objects, and specific interior designs serves as an homage to her Mexican heritage and Catholic upbringing, enriching the cultural narrative embedded within her art. Ultimately, Barela’s paintings do more than just illustrate the environments where plants and people coexist. Through her distinctive artistic vision, she constructs new realms for these subjects to inhabit, using paint as her medium. Her visually engaging artworks transcend mere aesthetic appeal, evolving into a multifaceted tribute to the human inclination to adorn and personalize our surroundings, underscoring the fundamental need to represent life and culture in our personal spaces. The blend of surrealism and mundanity, coupled with her unique perspective on domesticity and cultural roots, creates a compelling body of work that invites viewers to reconsider the beauty and significance hidden within the everyday. #Painting #InteriorDesign #Art #Surrealism #HomeDecor #MexicanHeritage #ContemporaryArt #PaulMoore

Italian artist Edoardo Tresoldi has created a new permanent public installation named _Opera_ on the Lungomare Falcomatà seafront in Reggio Calabria, Italy. This historic promenade is renowned as ‘The most beautiful kilometre in Italy’ and offers extensive views across the Strait of Messina and the Sicilian coasts. The _Opera_ installation, commissioned two years ago by the local Municipality and the Metropolitan City, features 46 towering columns crafted from Tresoldi’s signature material: wire mesh, which he refers to as ‘Absent Matter’. The artist was deeply inspired by the contemplative quality of the Strait of Messina, which he considers the city's true eternal 'monument', aiming to celebrate this natural feature through his work. The columns, each reaching up to eight metres in height, are designed to be spectral and translucent, possessing a ‘shy and delicate physicality’ that allows them to frame the constantly changing backdrop of the seascape. _Opera_ is envisioned as a tribute to the fundamental archetypes of Western cultural heritage and is expected to become a significant new landmark for the region. Positioned within the 2,500 sq m via Giunchi park, the installation is illuminated at night, fostering a visual dialogue between the organic forms of the environment and the structured rigidity of the architectural columns. The interplay between Tresoldi’s ‘Absent Matter’, the dynamic environmental movements, and the traditional language of classical architecture imbues _Opera_ with both a sense of permanence and ephemerality. The artistic arrangement of _Opera_ deliberately contrasts with the existing layout of the surrounding park, creating a tension that Tresoldi likens to a musical counterpoint. In this analogy, each architectural system operates independently yet coexists in harmony, forming a melodic and rhythmic balance within the space. Through _Opera_, Tresoldi challenges viewers to engage with contradictions, exploring themes such as reality versus representation, presence versus absence, and static versus kinetic energy. He notes that the installation serves to monumentalise the connection between individuals and their environment, promoting simple yet profound actions like observation, listening, and contemplation. Tresoldi’s artistic journey includes several notable works that showcase his distinctive use of wire mesh. In 2013, he created _Il Collezionista di Venti (The Winds Collector)_ in Pizzo Calabro, depicting a ghost-like human figure gazing out to sea. In 2016, his _Basilica di Siponto_ earned him a Gold Medal for Italian Architecture for its resurrection of a 12th-century basilica using wire mesh, blending contemporary art with archaeological themes. Another significant project was _Etherea_ for the 2018 Coachella Valley Music and Arts Festival, a temporary installation featuring three monumental wire mesh buildings inspired by neoclassical and baroque architecture. These projects highlight Tresoldi’s unique ability to revitalise classical architectural forms and create new narratives, demonstrating the expansive potential of his chosen medium. Looking ahead, Tresoldi has launched two new creative ventures: ‘Tresoldi Studio’, a design studio that draws inspiration from his artistic language, and ‘Studio Studio Studio’, an interdisciplinary project dedicated to fostering and supporting contemporary art initiatives. These new undertakings reflect his ongoing commitment to exploring and expanding the boundaries of art and design. #EdoardoTresoldi #PublicArt #InstallationArt #WireMeshSculpture #ReggioCalabria #ItalianArt #AbsentMatter #ArtAndArchitecture #CulturalHeritage

Boston City Hall, a prominent example of Brutalist architecture, is often perceived as an 'eyesore' due to its stark concrete design. However, a group of experimental artists from the Boston-based collective Mobius is transforming this perception through an elaborate art installation. Marilyn Arsem, a Mobius member, expresses awe at the building's vast, open lobby and its unique architectural features, including windows soaring nine stories high. She notes the striking contrast between the building's imposing exterior and the intriguing details within. The Mobius collective is preparing for a May 25 installation that will involve 13 artists working in various mediums, aiming to breathe new life into the solemn gray interior. Jane Wang, another Mobius member, details some of the planned performances. One piece by Joanne Rice and Tom Plsek will feature a trombone and tap shoes, with Plsek starting on the fifth floor, creating an acoustic interplay throughout the building. Performance artist Sandrine Schaefer will manipulate the speed of the escalators to alter visitors' sense of time. Wang herself will be knitting an abstract wire sculpture over four hours and will project a video, a collaborative effort of 95 artists and 21 composers, onto a lobby wall. Wang admits that while she still finds the building aesthetically challenging, her involvement has fostered a sense of fondness for it, recognizing its unique personality and pockets of beauty. She describes it as an "ugly, beautiful thing," highlighting the complex emotional response it evokes. Patty McMahon, the city registrar who has worked in Boston City Hall for nearly 30 years, is well aware of the building's polarizing reputation, often hearing it described with terms like "wet cement" and "hideous." She acknowledges the impracticalities of the Brutalist design, such as the difficulty of hanging decorations on concrete walls, exposed wiring, and the lack of windows on her floor. McMahon notes that different administrations have approached the building's challenges differently, with the current Walsh administration focusing on making it more comfortable, pretty, and light. This effort is part of the 'Rethink City Hall' initiative, a city planning project aimed at reimagining the building's use and public perception. Chris Grimley, a historical consultant from the design firm over,under, is involved in the 'Rethink City Hall' project. He explains that the building's original design was intended to promote openness and accessibility, allowing people to move freely through its various spaces, including an elevated courtyard with skylights. This design reflected high-minded democratic ideals, part of a larger urban renewal effort to revitalize downtown Boston and restore public trust in government. However, neglect and modern security concerns, particularly post-9/11, have led to restricted access, reducing the building to a single entry point. Grimley believes the civic spirit of the building can still be revived, which is where the Mobius artists play a crucial role. Artist Jesse Kaminsky describes his contribution: a "tentacular, low-level inflatable sculpture" made of colorful Tyvek. This piece, inspired by early science fiction, will undulate with a fan and seep over a ledge, introducing a sense of comical unease into the building's severe environment. Kaminsky aims for his soft, floppy, and forgiving sculpture to contrast with the building's inherent order and severity. He views the project as an opportunity to introduce something uncertain and acknowledges the possibility of failure, which he considers vital for the creative and even municipal process. For the Mobius artists, Boston City Hall, despite its perceived flaws, has become a rich source of inspiration, demonstrating that even a controversial structure can be reinterpreted and found worthy of appreciation. #BostonCityHall #BrutalistArchitecture #ArtInstallation #MobiusCollective #UrbanRenewal #ArchitecturalRedesign #PublicArt #CityPlanning #CreativeProcess

This article explores ten design hotspots in Rome, drawing inspiration from Harry Styles' recent visit to the city. It highlights various locations, ranging from high-end restaurants and art galleries to flea markets and independent homeware shops, suggesting an unconventional 'Roman Holiday' itinerary that blends celebrity-inspired sightings with local design and cultural experiences. The exploration begins with Il Pagliaccio, a two-Michelin-starred restaurant, where Harry Styles was spotted. This establishment is known for its intimate ambiance, sophisticated Mediterranean cuisine, and modern industrial interior design. It was the first Roman restaurant to achieve two Michelin stars and is guided by Italian-French chef Anthony Genovese, focusing on enhancing connection and conviviality through its design. Next, the article introduces Spazio Giallo, a design lab and gallery housed in a deconsecrated church, founded by Carolina Levi. This unique space functions as both an exhibition venue and a concept store, showcasing a curated collection of sculptural ceramics, table sets, paintings, prints, handmade fashion accessories, and designer furniture from contemporary artists and designers. Its relocation to Piazza dé Ricci, near Campo de’ Fiori, has transformed it into a hub for cultural events, including dance, music, DJ sets, roundtables, and workshops, fostering a vibrant creative atmosphere. The third hotspot is Porta Portese, Rome’s largest flea market, which Harry Styles visited. The market, dating back to 1945, offers a wide array of items, from antiques and home accessories to clothes and books. Its historical significance is noted, having appeared in classic Italian films and inspired local artists, serving as a cultural crossroads in the Trastevere district. The Style Hotel is presented as a potential accommodation option, even though Styles did not stay there. This four-star boutique hotel, located near iconic landmarks, blends historical architecture with contemporary furnishings, featuring Murano glass chandeliers, neutral palettes, and marble and wooden surfaces. It offers an elegant and unforgettable Roman experience within its design-rich interiors. C.u.c.i.n.a., an independent store specializing in kitchenware, is highlighted due to Styles' reported shopping there. The store offers high-quality home appliances, coffee pots, pans, and vintage-inspired table accessories, appealing to those seeking chef-style or industrial kitchen aesthetics with a blend of style and functionality. It has two locations in Rome. The article then delves into Trastevere, emphasizing its blend of local delicacies and cultural sightseeing. It suggests visiting Piazza di Santa Maria with its ancient fountain and the Basilica di Santa Maria in Trastevere, known for its mosaics, and the Basilica di Santa Cecilia. Casa Totem, a small apartment designed by STUDIOTAMAT, is recommended for those wishing to immerse themselves in the district's creative energy with its modern rustic, glamorous style. Auditorium Parco della Musica, designed by Renzo Piano, is featured as Europe's largest multifunctional entertainment venue. It hosts a variety of concerts, film festivals, and cultural activities, serving as a significant cultural institution. Harry Styles and Alessandro Michele's attendance at a concert here underscores its importance as a contemporary cultural destination. Antico Caffè Greco, an 18th-century cafe, is recognized as the oldest in Rome and the second oldest in Italy. It has served historical figures and is known for its Baroque, red-and-gold interiors, offering a step back in time. Its long-standing legacy and reputation for outstanding hospitality make it a must-visit for a traditional Roman experience. Edicola Erno, a “non-ordinary Roman newsstand,” is presented as a destination for design and fashion enthusiasts. It revitalizes the concept of Italian newsstands by offering niche publications, temporary art displays, and pop-up events that foster community and interdisciplinary connections, cementing Rome's role in contemporary culture. Finally, the article suggests a day trip to Civita di Bagnoregio, a hilltop village where Styles reportedly bought property. Known as 'the dying city' due to its eroding hillside, this picturesque village has inspired artists and filmmakers, offering unparalleled beauty and a unique cultural experience in the Lazio region. #RomeTravel #HarryStyles #ItalianDesign #LuxuryDining #FleaMarkets #BoutiqueHotels #Kitchenware #TrastevereCulture #CulturalHotspots #CivitaDiBagnoregio

The Philadelphia-based designer, Michelle Gage, and her husband, Alex, embarked on a search for their forever home, which led them to a 1927 fixer-upper in the Villanova neighborhood. The couple prioritized a comprehensive renovation, even if it meant a phased approach, ensuring no aspect of the design was compromised. Gage, known for her bold design choices, has transformed the house with elements like vibrant wallpaper and extensive gallery walls, creating an art-filled retreat. One significant lesson learned from their previous renovation was the value of outsourcing wisely. While they tackled certain tasks like framing walls for built-ins, they strategically hired professionals for detailed finishes, recognizing that time is money in such projects. This approach allowed them to manage the renovation effectively, combining DIY efforts with expert assistance where needed. A standout feature of Gage's home is the expansive gallery wall in the living room, which she meticulously curated. Her method involved starting with a substantial collection of art pieces, emphasizing that a diverse range of items is essential for creating an impactful display of this scale. Gage prefers an organic arrangement, maintaining approximately two inches between each piece for visual coherence. She typically begins the installation from the center of the wall and expands outward, allowing the display to evolve naturally. Nostalgia plays a crucial role in Gage's aesthetic. A prime example is a vintage blue writing desk, discovered in her childhood home's basement, which she restored and prominently features in her living room. Despite its initial neglected state, the desk holds significant sentimental value and now serves as a focal point, symbolizing her personal connection to her decor choices. This personal touch infuses the home with unique character and history. Gage's approach to selecting decor, particularly wallpaper, involves careful editing before shopping. She seeks sophisticated yet playful designs, acknowledging the abundance of less desirable options. For instance, the dining room, benefiting from ample natural light, features a whimsical monkey-dotted citrus motif wallpaper. In contrast, her studio, with stone walls, is painted, as she believes wallpaper does not complement stone surfaces effectively. This discernment ensures each space is adorned with appropriate and appealing finishes. Her office is designed as a vibrant and inspiring workspace. Gage incorporated playful shades of blue and pink to create an inviting atmosphere, emphasizing that a workspace should never be boring given its daily use. The studio is configured to accommodate swatches, meetings, and mood boards, providing an ideal environment for a designer. This thoughtful design ensures functionality is met with aesthetic appeal, fostering creativity and productivity. #HomeDesign #GalleryWalls #InteriorDesign #Renovation #FixerUpper #DesignInspiration #PersonalStyle #VintageDecor

This article offers a virtual tour of 14 spectacular homes belonging to renowned artists and architects around the world. These residences, usually open to the public but now virtually accessible, provide a glimpse into the personal spaces and creative environments that shaped these influential figures. The article highlights unique architectural styles, interior designs, and personal touches that reflect each artist's personality and work. The tour begins with Frederic Church's Olana in New York's Hudson Valley, a 19th-century landscape painter's home that blends Victorian and Middle Eastern motifs. Oscar Niemeyer's Casas das Canoas in Rio de Janeiro showcases his signature curves and reinforced concrete, with organically positioned boulders integrated into the design. Frank Lloyd Wright’s Taliesin in rural Wisconsin is described as his architectural autobiography, an 800-acre estate that is now a UNESCO World Heritage site. Philip Johnson’s Glass House in New Canaan, Connecticut, features wraparound windows designed to integrate with the surrounding landscape, a meticulously sculpted environment inspired by a 17th-century painting. Duncan Grant and Vanessa Bell’s Charleston House in Sussex, United Kingdom, embodies bohemian charm with hand-painted cupboard doors, patchwork chintz curtains, and stenciled paisley walls, complemented by a vibrant garden. Frida Kahlo’s Casa Azul in Mexico City, the site of her birth, death, and many years of her life, is a cobalt-washed residence with chartreuse floors and bright white walls, showcasing local folk art, handmade ceramics, and pre-Columbian sculptures. Auguste Rodin’s La Villa des Brillants in Meudon, France, served as his workshop, business place, and home, filled with dazzling white sculptures. Jackson Pollock and Lee Krasner’s East Hampton home has remained untouched since Krasner’s death, featuring paint-splashed floors in the studio and an eclectic interior with a broken anchor and Krasner’s seashell collection. Georgia O’Keeffe’s home and studio in Abiquiu, New Mexico, radiates natural light and includes surprises like a rattlesnake skeleton, along with an extensive potager garden. Clementine Hunter’s modest cabin at Melrose Plantation in Louisiana showcases her prolific artistry, with thousands of paintings depicting daily life. Frederic Church's Olana, a Persian-inspired fortress, is rich with hues of mustard, cherry, and clay, lavishly draped in Turkish rugs and ornate frames. Jim Thompson’s teak Thai-style home in Bangkok, though not an artist's own work, houses an extraordinary collection of traditional Thai art. Sam Maloof’s 1952 California ranch-style home, relocated to Pomona, features treehouse vibes with redwood walls, a hand-carved spiral staircase, and whimsical stained-glass windows. Irma Stern’s The Firs in Cape Town, South Africa, is a colorful collage of portraits and tribal artifacts, painted in mint green, sunny yellow, and and vivid corals. Finally, Claude Monet’s home in Giverny, France, is famous for its poetic interior with a stream of copper pots in the kitchen and lemony yellow dining room, alongside his collection of Japanese art. #ArtistHomes #ArchitecturalDesign #InteriorDesign #CulturalTourism #VirtualTours #ArtHistory #HistoricHomes #TravelInspiration #GlobalArt

La Macchina Studio, led by cofounders Gianni Puri and Enrica Siracusa, undertook the renovation of an 807-square-foot apartment in Rome, Italy, originally built in the 1950s. The project aimed to transform the space for a young couple, drawing inspiration from diverse artistic fields including cinema, painting, and illustration, citing influences ranging from the Sienese School and David Lynch to Katsumi Komagata and Prince. This eclectic approach informed the studio's design philosophy, focusing on creating a theatrical and surreal environment within the residential setting. The renovation involved the introduction of new materials to complement the existing structure. Botticino marble and brick red microcement were integrated throughout the apartment, providing a contemporary foundation. These materials were juxtaposed with bold color accents, such as a prominent blue arched door in the main living area. This door serves as a visual focal point and a transition point, leading into the bedroom and embodying the studio's desire to incorporate unexpected elements. A key design objective was to instill a sense of magic and playfulness into everyday living spaces. The architects achieved this by employing a strategy of color contrasts, graphic motifs, and deliberate “incursions” of surprising elements. The intention was to enhance the irreverent and surreal nature of the architectural narrative, making the apartment feel dynamic and engaging. This approach is evident in the selection of furnishings and decorative items. The living and dining areas feature a combination of classic and contemporary design pieces. Venetian terrazzo flooring forms a consistent base across these spaces. Furnishings include Mariolina chairs by Enzo Mari for Magis and a Tulip dining table by Eero Saarinen for Knoll. Lighting fixtures such as the Cirque by Louis Poulsen add to the curated ambiance. In the kitchen, Dioscuri 14 lamps by Artemide contribute to the functional yet stylish illumination. The classic blue arched door, made of lacquer wood, stands out as a signature element, reinforcing the playful design language. Further details within the apartment demonstrate the studio's comprehensive design vision. A Divano Goto sofa by Disegno Doppio and a Colonna stool by Ettore Sottsass for Kartell are placed in communal areas, alongside a painting created by La Macchina Studio itself. Another area features a Componibili side table by Anna Castelli Ferrieri for Kartell, a vintage chair from the 1950s, and an illustration titled “Birds” by Gianni Puri, highlighting his dual role as an architect and illustrator. The bedroom features brick red microcement flooring and a Bright Modeco 20 pendant by Nordic Tales, maintaining the cohesive material and color palette. In the bathroom, mosaic wall coverings in ceramic, light grey microcement flooring, and a Bonola 50 bathroom sink by Ceramica Flaminia complete the thoughtful renovation. #ApartmentRenovation #RomeDesign #LaMacchinaStudio #InteriorDesign #MidCenturyModern #ColorContrast #ArchitecturalRenovation #PlayfulDesign #ItalianArchitecture

In the quiet Italian town of Spilimbergo, the Scuola dei Mosaicisti del Friuli stands as a unique institution dedicated to the preservation and evolution of mosaic art. Established in 1922, the school was founded to formalize training for local artisans and maintain a mosaic tradition deeply rooted in the region's history, extending back to the Roman Empire. Today, it remains the sole academic institution globally focused exclusively on mosaic arts, attracting students from diverse backgrounds and ages, from recent high school graduates to seasoned professionals, all seeking to master this intricate craft. The three-year program at the school is rigorous, immersing students in historical mosaic techniques such as Greco-Roman patterns and Byzantine compositions, before encouraging experimentation with contemporary, freeform designs. Annually, approximately 40 students are admitted, but only about 15 successfully complete the full curriculum, earning the esteemed title of _maestri mosaicisti_ (mosaic masters). A select few, typically six, further pursue a fourth year, likened to a master's degree, to refine their skills even more. Director Gian Piero Brovedani emphasizes that becoming a maestro mosaicista demands significant effort and discipline, highlighting the craft's humbling and exacting nature, which fosters patience, attention to detail, and an appreciation for repetitive tasks. Mosaic creation is an exceptionally precise art form, requiring artists to meticulously arrange hundreds, or even thousands, of tiny pieces called _tesserae_—some as small as 0.5cm—to construct elaborate patterns and lifelike scenes. These tesserae, made from materials like marble, glass, _smalto_ (opaque glass tiles), and shells, necessitate careful craftsmanship and an intuitive understanding of rhythm and placement. Cristina de Leoni, a third-year teacher, notes the collaborative and selfless aspect of mosaic-making, where individual tiles only gain significance when combined with others, creating a collective artwork without emphasizing individual ego. The rich history of mosaics, tracing back to Mesopotamia in the 3rd millennium BCE and spanning various cultures including Greek, Maya, Byzantine, and Islamic civilizations, underscores its reliance on anonymous virtuosity rather than individual artistic fame. Friuli-Venezia Giulia has remained a stronghold of this tradition, fueled by an abundance of stones from the Tagliamento river and strong cultural links to Venice. In the 19th century, Friulian artist Gian Domenico Facchina revolutionized the craft with the _rovescio su carta_ (reverse on paper) method, enabling off-site assembly of large mosaic panels, a technique first showcased in the foyer of Paris' Opéra Garnier. Today, Friulian mosaicists, many trained in Spilimbergo, have contributed to prominent projects worldwide, from Rome's Foro Italico to the New York City subway at the World Trade Center, and from Jerusalem's Church of the Holy Sepulchre to galleries in Tokyo. The art form continues to evolve, embracing both precision and expression. Purnima Allinger, a student, describes mosaics as a meditative yet expressive craft that keeps artists fully engaged. Amos Carcano, a Swiss maestro mosaicista, highlights the blend of manual work, invention, and exploration of texture, color, and patterns in contemporary mosaics. Carcano is currently part of a team working on a monumental 1,265-sq-m mosaic floor for the school's courtyard, depicting Friuli's native flora and fauna. The school operates as a _bottega_ (workshop), where students learn through hands-on practice, as explained by mosaic history teacher Danila Venuto. Visitors can also engage with the art through _corsi brevi_ (short courses) ranging from four-day to week-long programs, offering an introduction to mosaic creation. Guided and independent tours provide access to an archive of over 800 mosaic works and opportunities to observe students and masters at work. Spilimbergo itself serves as an open-air gallery, with mosaics adorning buildings, shops, and restaurants. The town also hosts mosaic shops and showrooms, displaying works by alumni, and offers visits to Fabbrica di Mosaici Mario Donà, a historic kiln producing enamels for mosaics. The region's natural landscape, particularly the _grave_ (river-washed stones) from the Tagliamento and the Magredi plain, provides the essential materials and inspiration for many Friulian mosaics, underscoring the deep connection between the art and its environment. Mosaic-making is a central part of Friuli's cultural identity, and the school invites curious individuals to partake in this enduring legacy. #MosaicArt #ItalianCraftsmanship #ArtEducation #Spilimbergo #FriuliVeneziaGiulia #AncientTradition #ContemporaryArt #ArtisanalSkills #TravelDestination

This article showcases six distinctive homes across the United States, each featuring significant Italian architectural and design influences. The properties range from historic estates to modern villas, demonstrating how Italian aesthetics, from grand Renaissance styles to rustic Tuscan elements, have been integrated into American residences. These homes highlight various Italian-inspired features, including Palladian windows, arched doorways, intricate stenciled beams, marble accents, and specific room designs like wine cellars and Italian farm-style kitchens. The first featured home, Villa Amore in San Antonio, Texas, was built in 1922 and commissioned for an Italian wife, reflecting classic Italian design with its arched doorways, Palladian windows, and a 1,000-bottle wine room. Its exterior boasts an imported marble fountain, a pool, and an al fresco fireplace, accompanied by a carriage house. Next is a Tuscan-style four-bedroom home on Hilton Head Island, South Carolina, constructed in 2004. This property incorporates reclaimed beams, Italian stone, heart-of-pine floors, a 1,000-bottle wine room, and an Italian farm-style kitchen. Its waterfront location offers panoramic views, a pool, a private beach, and direct access to the Intercoastal Waterway. In Nyack, New York, Palazzo Mare stands as a 15th-century-style Venetian villa built in 2001 on the Hudson River. Characterized by its ornate front door, a grand staircase, 27-foot ceilings, and Corinthian columns, the villa also includes a master suite with a green marble bathroom and a spa tub. The property extends to a sandy beach, a pier, and a pool with a spa. The Rialto House in Venice, California, built in 1905, was part of Abbot Kinney's vision for "Venice of America." This four-bedroom home features hardwood floors, Islamo-Byzantine stained-glass windows, a marble-floored sunroom, and an Italian-tile bathroom. A notable addition is an 840-square-foot guesthouse situated above the garage. Casa del Sole in Newport, Rhode Island, is an early 20th-century Palladian mansion extensively renovated in 2017. Owned by former Olympic figure skater Michelle Kwan, the four-bedroom home showcases marble floors, a chef's kitchen, two fireplaces, and formal living and dining rooms that open to a loggia. The two-acre landscaped property includes a fire pit and various seating areas. Finally, the Rohlfing House in Attica, Indiana, an Italianate brick home built in 1887 and listed on the National Register of Historic Places, underwent a three-year renovation completed in 2010. This renovation preserved historical elements such as period fixtures, original woodwork, oil-on-canvas wall coverings, a stained-glass window, and the kitchen’s original sink and prep room. These properties collectively illustrate the enduring appeal and versatile application of Italian design principles in diverse American settings. #ItalianArchitecture #HomeDesign #LuxuryHomes #RealEstate #ArchitecturalStyles #HistoricHomes #InteriorDesign #TuscanStyle #VenetianVilla

The article discusses the collaboration between fashion label COS and American light-based artist Phillip K Smith III for an installation titled 'Open Sky' at Milan's Salone del Mobile. This project, featured in the 2018 edition of the design fair, marks a significant departure for both parties: Smith's first brand collaboration and his initial foray into a dense urban setting, moving away from his usual desert landscapes. COS, known for its annual design collaborations since 2012 with talents like Sou Fujimoto and Studio Swine, aimed to create an experience that transcends traditional art and design boundaries. Karin Gustafsson, COS' creative director, emphasizes that the brand's collaborations are driven by passion for the artists' work rather than a desire for increased presence. She highlights that COS provides a broad brief, focusing on brand values but allowing artists creative freedom. The choice of Phillip K Smith III was influenced by the shared values of tactility, modernity, and functionality, as well as Smith's meticulous attention to detail and the timeless quality of his work, which resonated with COS' aesthetic. 'Open Sky' is strategically placed within the 16th-century Palazzo Isimbardi, an exhibition venue previously unused. Smith's sculpture, a circular mirrored structure angled at 43 degrees, reflects the sky and surrounding Italian Renaissance architecture, drawing fragmented views into the courtyard. This design aims to create a unique and personal experience for each visitor, influenced by the time of day and atmospheric conditions. The installation encourages contemplation, offering a quiet respite from the bustling Salone del Mobile. The ambitious structure, an 11ft-tall concrete form with 34 chemically polished stainless steel panels, was fabricated by UAP, an international studio specializing in public art projects. The components were manufactured at UAP's Long Island City facility, then shipped to Milan for on-site assembly. The installation's journey begins with visitors encountering the imposing concrete form, which contrasts sharply with the classical palazzo. A single opening guides them along its circumference, eventually revealing the mirrored inner surface that reflects the Renaissance architecture and the sky. Additionally, smaller freestanding sculptures by Smith are installed in the palazzo's outdoor gardens, further exploring the distillation of his larger concepts into abstract, smaller-scale works. Smith notes that COS's support was instrumental in realizing his vision, allowing the concept to remain remarkably true to his original proposal. He describes the collaboration as akin to a museum offering space and budget, indicating COS's commitment to supporting artistic ideas. With degrees in both architecture and fine art from the Rhode Island School of Design, Smith effectively merges these disciplines in his practice, creating art at an architectural scale. His architectural training informs his approach to context and detailing, ensuring the concept and experience are pure. 'Open Sky' represents a significant development in Smith's practice, allowing him to explore his ideas on an architectural scale within an urban environment, an opportunity that he suggests would have been much smaller without COS's involvement. #SaloneDelMobile #COS #PhillipKSmithIII #ArtInstallation #MilanDesignWeek #ArchitecturalDesign #ReflectiveArt #ContemporaryArt #DesignCollaboration

Dimorestudio, in collaboration with Loro Piana, unveiled an immersive installation titled 'La Prima Notte di Quiete' at Milan Design Week 2025. This unique presentation explores the blurred lines between reality and cinematic fiction, set within the evocative backdrop of an elegant, fictional 1970s villa. The experience was designed to showcase new furniture pieces from Dimoremilano – Dimorestudio's furniture brand – for Loro Piana Interiors, alongside existing studio classics re-imagined with Loro Piana fabrics. The installation, located in the Cortile della Seta courtyard at Loro Piana's headquarters, begins with guests entering a foyer designed to resemble a vintage cinema, complete with red velvet curtains and leopard-print carpet. Visitors are then guided through a series of holding areas before entering a pitch-black space. The core of the experience unfolds as individual rooms of the villa are dramatically illuminated, synchronized with a soundtrack composed by Nicola Guiducci. This multisensory approach creates an atmosphere of suspense and intrigue, leaving attendees to ponder the narrative of the villa's unseen inhabitants. The setting is a stormy night, emphasized by the sounds of thunder and water cascading down glass panels. Intermittent voices add to a sense of commotion, subtly reflected in the disarray of the interior spaces: crumpled bed sheets, scattered grapes, and misplaced throw pillows. The meticulous attention to detail is evident in elements like a half-read book on a sofa and faint suggestions of mold on the ceiling, all contributing to the plausibility of the scene. Dimorestudio emphasizes that this realism is achieved through a balanced curation of diverse objects, mirroring the sophisticated taste one would find in a genuinely lived-in home. Among the featured pieces is the 'Varallo' round bed, characterized by a tubular steel frame integrated with a Mohair velvet-upholstered headboard. The 'Valsesia' oval dining table also incorporates the same tubular steel for its legs, supporting a lacquered wood top with an Altai wool and cashmere fabric center. The installation also includes various other luxuriously crafted items, such as cabinets, seating, lighting, and decorative objects, all seamlessly integrated to appear as if they were collected over time by the villa's residents. Classic Dimoremilano designs like the 'Tavolo 089', 'Dega', 'Sciura', and 'Patty' armchairs are reinterpreted using Loro Piana Interiors fabrics, underscoring a commitment to tactile luxury and harmonious design. A notable debut within the installation is Loro Piana's 'Punti a Maglia' porcelain tableware, handcrafted in Limoges, which is presented dramatically shattered, adding to the installation's narrative of disruption. Antique sculptures and artworks, sourced from various galleries including Tornabuoni Art and Cardi Gallery, are strategically placed throughout the vignettes and in metal and glass vitrines, further enriching the environment. Dimorestudio's reputation for a cinematic design approach is evident, with influences from filmmakers like David Lynch and Federico Fellini. The installation, which intentionally raises more questions than it answers, serves as a masterclass in set design, inviting visitors into a thought-provoking experience that culminates in a golden, engraved key as a parting gift, subtly implicating the visitor in the unfolding mystery. #MilanDesignWeek #Dimorestudio #LoroPiana #InteriorDesign #FurnitureDesign #ImmersiveInstallation #CinematicDesign #LuxuryInteriors #ItalianDesign