calvi brambilla transforms venetian palazzo into barovier&toso's luxurious glass showroom

The Metropolitan Museum of Art in New York is currently hosting a significant exhibition dedicated to the glass works designed by Italian architect Carlo Scarpa for the art-glass manufacturer Venini. This exhibition, adapted from a 2012 show at Le Stanze del Vetro in Venice, showcases approximately 300 pieces and highlights Scarpa's innovative approach to glass design between 1932 and 1947. Scarpa, known for his preference for designing museums over skyscrapers, saw opportunities for creativity in the former, which allowed for adaptation and subordination to existing elements. This philosophy is evident in his glass innovations, where he boldly injected new ideas, forms, and processes into established traditions of glassmaking. His works are presented alongside the Met's collection of Qing porcelain, ancient Greek and Roman cast glass, and 19th-century Murano vessels, underscoring their timeless and daring quality. During his 15-year tenure as artistic consultant to Venini, Scarpa collaborated closely with the company's founder, Paolo Venini, and master glassblowers. This partnership resulted in the creation of over two dozen distinct styles and the pioneering of numerous techniques, silhouettes, and color palettes that effectively modernized the ancient art of glassblowing. His contributions ranged from the "bollicine" pieces, characterized by their bubble-studded appearance, to the rare, ceramic-like "murrine opache" works. The exhibition provides a comprehensive look at Scarpa's diverse output for Venini, including pieces from series such as the "Battuti," which features thick glass bowls with irregular finishes, and the "Macchie," incorporating central abstract decorations in blue and black glass. Other notable series include "Incisi," with its velato finish and etched decorations, and "Rigati e tessuti," showcasing intricate striped and woven patterns. The exhibition also features "A Cerchi, A Fasce, A Spirale" pieces with aquamarine decorations, multi-colored "murrine romane" vases, and perfume bottles from the "Iridati" series with hot-applied bugne and iridized surfaces. The "Sommersi" series, featuring ovoid glass vases with gold-leaf inclusions, further illustrates Scarpa's experimental spirit. The exhibition underscores Scarpa's profound impact on the design world, demonstrating his ability to reinterpret and revolutionize traditional craftsmanship while producing works that continue to resonate with contemporary aesthetics. His designs for Venini represent a pivotal moment in the history of glass art, bridging historical techniques with modernist sensibilities. #CarloScarpa #VenetianGlass #Venini #MetropolitanMuseumOfArt #GlasswareExhibition #ItalianDesign #ArtGlass #ModernistDesign #GlassblowingTechniques

StudioTamat, a Rome-based architectural firm, has undertaken the renovation of an 80-square-metre "villino" in the heart of Rome, situated within the courtyard of a late-19th-century building on Viale di Trastevere. The project, known as RA House, was designed to create a sense of spaciousness and vibrancy for a couple who split their time between multiple residences. The intervention strategically employs elements of color, transparency, and reflection to achieve this objective within the compact three-level property. The design ethos centers on amplifying spatial dynamism while maintaining a coherent aesthetic that nods to the existing charm of the villino and the lively Trastevere neighborhood. Architects Matteo Soddu, Tommaso Amato, and Valentina Paiola spearheaded the transformation, which involved a significant rethinking of the vertical arrangement of the house. A key modification was the replacement of part of the original first-floor mezzanine with a structural glass floor. This innovative feature establishes a direct visual connection between the ground-floor living areas and the bedroom located above, promoting a more open and integrated living experience. Further enhancing the feeling of openness, a void was introduced into this new glass floor, creating a double-height lightwell. This lightwell is complemented by a new window, allowing natural light to permeate deeper into the interior. Mirrored ceilings are strategically incorporated throughout the house, contributing to an illusion of expanded space and vertical infinity. These reflective surfaces work in conjunction with the transparent elements to dematerialize boundaries and make the relatively small footprint feel significantly larger. A central blue volume acts as a functional core, extending between two levels. On the lower floor, it neatly houses the kitchen and utility spaces, while on the upper level, it accommodates an en-suite bathroom. This clever integration of services within a unified volume optimizes space and maintains visual continuity. The circulation within the house is also thoughtfully designed; a bookshelf ingeniously doubles as a space-saving staircase connecting the two main floors, while a spiral staircase provides access to the second floor, which serves as a flexible study or guest room. In addition to these structural and spatial interventions, the project meticulously restored the art-nouveau-style stained glass, which now forms an orangery at the entrance, infusing the space with shades of green, orange, and yellow. New materials are introduced with a discerning eye, including Verde Alpi marble, which is prominently featured as a podium at the base of the chestnut wood staircase and on kitchen surfaces. Fluted glass is used for partitions in the upstairs en-suite, offering a degree of privacy while maintaining light and an open feel. The kitchen also showcases metal cabinets with an ombre effect, fading from rose-gold to black. The interior is furnished with a mix of contemporary and vintage pieces, including a concrete table, vintage Thonet chairs, and a custom-made bed, providing the final touches to a sophisticated and spatially efficient urban residence. The project successfully blends historical preservation with modern design principles, creating a functional, elegant, and seemingly expansive home within its compact Roman setting. #StudioTamat #RAHouse #RomeArchitecture #VillinoRenovation #GlassFloors #MirrorCeilings #SpatialDynamism #InteriorDesign #ResidentialArchitecture

The Milan-based design studio 6:AM, founded by Edoardo Pandolfo and Francesco Palù in 2018, is redefining the application and perception of Murano glass. The studio's name, 6:AM, signifies the moment the furnaces on the Venetian island are ignited daily, marking the continuation of a 700-year-old glassmaking tradition. Pandolfo, a Venice native, and Palù, an architect, aim to introduce Murano glass to a broader audience through a diverse range of products, including architectural installations, modular lighting, furniture, and sculptural objects, all characterized by precision, materiality, and conceptual clarity. Their work spans bespoke commissions for international brands and research-driven explorations into the future of glassmaking. 6:AM's approach marries ancient techniques with contemporary aesthetics, emphasizing a continuous dialogue between craftsmanship and design. This synergy means that product development and glassworking techniques evolve in parallel, where the object's shape often dictates how the glass is worked, and conversely, the design influences the choice of technique. The studio collaborates closely with Murano's master artisans, leveraging their extensive expertise in manipulating glass in its molten state. They actively experiment with layering, fusing, and adapting traditional methods to expand the material's potential while striving to minimize environmental impact. A notable project demonstrating this ethos is FLOAT, unveiled during Milan Design Week 2024. This collection repurposed salvaged glass from 1930s Milanese windows into furniture, shelving, and architectural cladding. By combining fused glass panels with minimalist steel structures, FLOAT explored new technical and aesthetic possibilities for post-industrial materials. This initiative culminated in the 'Resourceful Intelligence' installation at the 2025 Venice Architecture Biennale, where reprocessed glass from Milan’s Palazzo Missori was utilized to showcase circular design strategies, developed in collaboration with Park Associati. Earlier in the year, 6:AM held its inaugural solo exhibition, 'Two-Fold Silence,' at Milan's historic Piscina Cozzi during Milan Design Week. The exhibition featured Quadrato, a lighting collection that draws inspiration from 1920s industrial design, blending Bauhaus rationalism with the geometric abstraction of Kazimir Malevič. The Quadrato collection, crafted from blown Murano glass with varying textures and opacities, included a screen-printed lattimo wall lamp encased in painted iron, offering a modern interpretation of early 20th-century emergency lights. From crafting jewel-like hand-blown Murano glass stools for Bottega Veneta’s SS26 runway show to their pioneering material recovery projects, 6:AM consistently demonstrates a distinctive visual language. This language is characterized by fluid silhouettes, luminous textures, and a steadfast commitment to handmade quality. Each cuboid stool for Bottega Veneta, for instance, began as a 43 cm glass block shaped using cast-iron molds engraved with CNC technology, reflecting a process akin to traditional marble sculpture. The studio's work is deeply embedded in Murano’s historical glassmaking heritage, yet it is decisively forward-looking, continuously pushing the boundaries of glass design. #GlassDesign #MuranoGlass #6AMStudio #MilanDesign #SustainableDesign #BottegaVeneta #ArchitecturalInstallations #ContemporaryCraftsmanship #CircularDesign

The article highlights The Pink Closet, a luxury fashion boutique located within Palazzo Avino, a prestigious hotel in Ravello, Italy. Palazzo Avino, housed in a former 12th-century private villa, is situated on the Amalfi Coast and is known for its distinctive dusty peach-toned facade, sumptuous dining, and exquisite Italianate interiors. The hotel features a Michelin-starred restaurant, Rossellini’s, and a Lobster & Martini Bar, all nestled amidst citrus, pomegranate, and olive trees. The Pink Closet, which opened in 2019, offers guests and visitors a curated selection of unique and limited-edition fashion items. Mariella Avino, the hotel's managing director, conceived the boutique with the vision of creating a 'dream closet.' This vision was brought to life by interior designer and architect Cristina Celestino, who designed the intimate space. Celestino's design incorporates sorbet-pink hues, tactile tiled walls accented with aquamarine shades, intricate inlaid marble, and curving golden fixtures. The color palette not only reflects Palazzo Avino's affectionate nickname, 'The Pink Palace,' but also Celestino's signature aesthetic, which often features sweet shop colors. Her work in this style has been recognized, including in the 2018 Wallpaper* Design Awards, and is evident in her collaborations with brands like Fendi and Sergio Rossi. The boutique's inventory is carefully selected by Mariella Avino, featuring one-off or limited-edition pieces from niche fashion, accessory, and shoe brands discovered during her travels. Notable brands include Milan-based The Attico, Blazé Milano, Sara Battaglia, and silk-scarf specialist Mantero from Lake Como. The emphasis is on unique items that offer sartorial delights for guests and shoppers to cherish, extending the luxury experience beyond their stay in Ravello. For those unable to visit the Amalfi Coast in person, The Pink Closet has launched an e-commerce site, making its exclusive collection accessible to a global audience. This online platform allows shoppers to purchase these distinctive fashion pieces regardless of their geographical location. The article underscores the boutique's role in offering a unique shopping experience that complements the luxury and charm of Palazzo Avino and the Amalfi Coast, blending high fashion with the serene and opulent atmosphere of the Italian resort town. #PalazzoAvino #ThePinkCloset #Ravello #AmalfiCoast #LuxuryFashion #BoutiqueDesign #CristinaCelestino #ItalianDesign #FashionRetail

Architect Luca Bombassei has recently taken up residence in the 15th-century Palazzo Contarini Corfù, a piano nobile overlooking Venice's Grand Canal. His apartment spans nearly 6,500 square feet, a typical size for a Venetian palazzo, and is bathed in natural light from three sides. Bombassei's intervention blends the building's historical identity with contemporary art and functional, site-specific furnishings, creating a unique living space. He embraces the slower pace of Venetian life, finding joy in the city's ability to seamlessly merge the old with the new. The residence reflects a blend of styles, featuring grand doorways, quadrifora windows, and original terrazzo floors, which are nearly 500 years old. These historical elements are juxtaposed with custom metal bookcases that ingeniously conceal modern heating units. The interior design incorporates pieces from the Memphis Group, Gae Aulenti, and Angelo Mangiarotti, with a notable presence of Carlo Scarpa's designs. Mid-20th-century ceramic sconces from an old Roman cinema, a Lucio Fontana painting in the primary bathroom, Francesco Vezzoli sculptures, and two 'Baco da setolas' by Pino Pascali further contribute to the eclectic mix. Bombassei considers art a dynamic entity, constantly moving and changing according to his mood, as evidenced by the recurring presence of nails in his walls, indicating rotating displays. The living room features velvet-clad Cornaro seating pieces by Carlo Scarpa, with Bombassei-designed suspended metal bookcases that integrate heating and cooling systems. Monumental artworks by Nathlie Provosty and Canaletto face each other, while a ceramic head by Vanessa Beecroft and Pino Pascali's 'Baco da Setola' add further artistic interest. In the primary bath, Alba Chiara marble clads the space, showcasing a Lucio Fontana painting above a 1930s enameled cast-metal tub. A Bombassei-designed bookshelf holds an artwork by Sandra Vásquez de la Horra, illuminated by a Tobia Scarpa sconce for Flos. Another area displays 1960s ceramic and glass vessels on a 1972 Quaderna console by Superstudio for Zanotta, alongside a John Baldessari artwork and a 1962 Toio floor lamp. The less formal end of the living room features a Piaf sofa by Baxter in pink suede, wrapping around a Dune coffee table by Draga & Aurel for Baxter. A 1940s Murano glass chandelier by Seguso hangs overhead, and Jimmie Durham’s 2020 'Tree' sculpture occupies a corner. The primary bedroom door is flanked by Barbara Kruger’s 'Untitled (Do you die first?)' from 1989. The walls in this room are clad in gray smoked mirror and Dedar’s Splendido silk velvet. The kitchen boasts a 1950s Poliedri light by Carlo Scarpa for Venini above a Bombassei-designed island and a geometric marble floor, also conceived by Bombassei. Francesco Vezzoli’s 'Cassandra Crying,' 2016, hangs above the fireplace. Bombassei’s approach to art collecting is driven by energy and stimulation, acquiring pieces without predetermined placement. An example is a Canaletto capriccio in the living room, depicting an imagined scene combining Roman and Venetian architecture, including a humorous detail of a washerwoman hanging laundry on the Marciana Library. In the dining room, 1962 Plexi pendants by Karakter hang over a 1971 white Carrara marble Eros table by Agapecasa, both designed by Angelo Mangiarotti. Artworks include a blue neon piece by Claire Fontaine and portraits by Larry Stanton, alongside 1950s glassware by Venini. A sitting area in the dining room features a trio of Carlo Scarpa Cornaro sofas and two Dadamaino paintings. The renovation carefully restored original elements of the palazzo, such as 19th-century paneling and 16th-century frescoes, while removing superfluous additions. The original Venetian terrazzo floor, dating back to 1560, underscores the immense historical depth of the property. Bombassei also reopened a walled-up door, connecting rooms and multiplying visual axes, and incorporated mirrored ceilings in one bathroom to reflect an inverted image of Venice, creating a captivating visual illusion. #VenetianPalazzo #LucaBombassei #HistoricArchitecture #ContemporaryArt #InteriorDesign #LuxuryLiving #GrandCanal #Venice

Swarovski has revealed the second installment of its Designers of the Future initiative at Design Miami/Basel, showcasing three innovative crystal-related projects. This year's award recipients are Anjali Srinivasan, Studio Brynjar & Veronika, and Yuri Suzuki, who have spent the past six months developing new crystal-based works, following their announcement as winners earlier this year in Paris. Each designer or studio had the opportunity to immerse themselves in Swarovski's crystal world at the company's headquarters in Wattens, Austria, leveraging Swarovski's expertise and materials to bring their visions to life. Glass artist Anjali Srinivasan's project is an installation inspired by human gestures. She seamlessly integrated her glass artistry with Swarovski’s crystal craftsmanship, specifically utilizing the company’s 'Touch Crystal' technology. This innovative feature allows the crystal to respond to human touch with light, blurring the lines between a solid object and interactive visual effects. Srinivasan's installation is a monumental crystal wave, standing six meters tall and supported by a mesh structure. It incorporates 3,000 Swarovski crystals and 5,000 pieces of glass, which she produced at her studio in Dubai. This project aims to explore the intersection of optical and physical phenomena, pushing the boundaries of human-centric design. Studio Brynjar & Veronika, an Icelandic duo, contributed a dynamic interpretation of crystal with their installation titled 'Currents.' This piece explores the interaction between light and crystal, bringing the material into a domestic setting through three distinct elements. They re-envision common household items, such as a standard window blind, by incorporating prisms that project rainbow-colored light when illuminated. Additionally, their crystal tiles are designed to diffuse a liquid reflection of their surroundings when they come into contact with water. The third component of their installation features a collection of crystal sticks, designed to highlight the transparency and light-refracting qualities of the gems, showcasing new uses and applications for crystal in everyday environments. Japanese sound artist Yuri Suzuki approached crystal from an acoustic perspective, blending his sonic practice with Swarovski's signature material. His research delved into how crystal vibrations can be translated into sound. The result is a mechanical, interactive 'crystallophone' comprising 16 brass mechanical ‘notes,’ each fitted with a handmade crystal form that represents tones ranging from C1 to D3. Suzuki collaborated closely with engineers at Swarovski’s Wattens facility to execute this complex project, which stands as a testament to the fusion of art and technology. Nadja Swarovski highlighted the excitement of seeing a diverse group of emerging talents from around the globe explore their visions of future living through these beautiful and thought-provoking crystal works. The collective installations demonstrate Swarovski’s ongoing commitment to innovation and its remarkable capacity for experimentation with its unique material. The company's continued engagement with initiatives like Designers of the Future, alongside its ventures into fashion, home collections, large-scale installations, and micro-crystal creations, underscores its dedication to research and development, constantly challenging perceived limitations of crystal as a medium. #Swarovski #DesignersOfTheFuture #CrystalArt #DesignMiamiBasel #AnjaliSrinivasan #StudioBrynjarVeronika #YuriSuzuki #InteractiveDesign #MaterialInnovation

Violino d’Oro, a five-star boutique hotel unveiled by Collezione Em from the Maestrelli family, is situated a short walk from St. Mark's Square in Venice. This property aims to offer an immersive experience into Venetian culture, blending tradition with contemporary design, sustainability, and an authentic Venetian spirit. The hotel reflects the Maestrelli family's over three decades of experience in hospitality, emphasizing respect for cultural heritage and excellence. It has been recognized by The Leading Hotels of the World, signifying its status among exclusive global destinations. The hotel is housed within three meticulously restored 17th-century buildings. The interior design prioritizes silence, texture, and natural light. Every detail, from the materials to the subtle scents, contributes to a unique atmosphere. Sara and Elena Maestrelli have guided the reimagining of Venetian hospitality with a focus on sophistication and human connection. The decor features fabrics by Rubelli, lamps by Venini, artisanal Venetian terrazzo floors, and a curated collection of Italian art and design, all harmoniously integrated. The 32 rooms and suites balance elegance and comfort, showcasing a blend of clean-lined Italian furniture, Oriental pieces, Venetian antiques, and contemporary elements. Canal views, high ceilings, and a soft color palette contribute to a serene and sophisticated ambiance. Sara Maestrelli describes the hotel as an “artisanal Italian project designed like a home,” with everything from glassware to headboards crafted locally in Venice and Tuscany, using noble materials and skilled craftsmanship. Velvets, brocades, and damasks from Rubelli, Carrara marble inlays, and hand-blown Murano glass lamps are prominent features, each with a unique story and tactile quality. Sustainability is a core philosophy at Violino d’Oro, extending beyond a marketing label. This commitment is evident in the use of local materials, support for artisan economies, and mindful resource management, reflecting a dedication to environmental responsibility and the future of luxury travel. The hospitality is characterized by warmth, attentiveness, and personalized service, with staff trained to anticipate guest needs, offering a balance of professionalism and approachability. Breakfasts are served in a sun-drenched dining room, featuring fresh, seasonal, and organic produce, artisanal pastries, and made-to-order coffee, catering to various dietary preferences. The serene atmosphere is designed to promote a sense of well-being. The hotel's culinary highlight is Il Piccolo, an intimate, Michelin-recognized restaurant with nine tables. It offers a contemporary, plant-forward menu based on local and seasonal ingredients, complemented by creative cocktails from head bartender Francesco. The menu evolves with the seasons, combining innovative techniques with traditional respect for ingredients. Violino d’Oro offers unique experiences connecting guests to the soul of Venice. These include Venetian cooking classes, yoga by the canals, mixology workshops, and private visits to artisan ateliers like Rubelli or Micheluzzi. Cultural tours provide access to lesser-known parts of the city, operas, or private palaces. Tailor-made experiences such as sunrise photography walks, guided strolls through Dorsoduro, private lagoon cruises, and food tours through traditional Venetian bacari are also available, aiming to foster a deep connection with the city. Excursions to Murano and Burano are also arranged, offering insights into glassmaking and lace-making traditions, respectively. Murano provides opportunities to observe glass artisans at work and purchase unique pieces, while Burano captivates with its colorful houses and the delicate craft of handmade lace. The hotel aims to provide a new way of experiencing Venice—authentic, sophisticated, and deeply emotional, a sanctuary that makes guests feel at home while offering an exceptional and unique stay. #VenetianLuxuryHotel #BoutiqueHotel #VeniceTravel #ItalianDesign #SustainableHospitality #CulturalImmersion #ArtisanCraftsmanship #MichelinRestaurant #HistoricRenovation

This article highlights an iridescent glass vase from Oliver Bonas as a noteworthy decorative item. The vase is presented as a versatile home accessory, suitable for displaying flowers or serving as a standalone decorative piece. It is available in two sizes and features a rounded shape, crafted from mouth-blown blue glass. A distinctive aspect of the vase's design is its iridescent finish, which transitions from an ocean-toned, textured crackle effect at the bottom to a petrol-effect rainbow finish towards the top. This combination of textures and colors is noted for its visual appeal. The article emphasizes the positive reception of the vase, citing five-star ratings and customer reviews that commend its appearance and quality. One customer's feedback describes the vase as a 'really lovely surprise,' exceeding expectations with its colors and overall impression. Another review highlights its suitability as a wedding present, praising its beautiful colors and effectiveness as a decorative item even without floral arrangements. The product's popularity is attributed to its aesthetic qualities, which are described as stunning and stylish, despite iridescent finishes not always being perceived as such. The vase is presented within the broader context of home decoration, where vases are considered essential for either holding blooms or enhancing interior aesthetics. The author suggests that one can never possess too many vases, implying their utility and decorative value. Pricing information is provided, with the small size retailing for £32 and the large size for £36. The article also includes a brief section titled 'The lust list: Iridescent vases,' which further contextualizes the trend of iridescent homeware, although no other specific products are detailed within this list. Published in September 2018 by Olivia Heath, the daily editor at House Beautiful, the article aligns with the publication's focus on home decor and interior styling. Heath's editorial background, which includes covering design trends, decorating tips, and homeware, reinforces the article's authority within the domain of home aesthetics. The piece functions as a product feature, aiming to draw readers' attention to a specific item from Oliver Bonas that has garnered positive attention and fits current decorative trends. #OliverBonas #IridescentVase #HomeDecor #GlassVase #DecorativeAccessory #InteriorStyling #Homeware #ProductReview

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 Malibu Glass Box House, designed by Klopf Architecture, represents a significant architectural project on a site in Malibu, California, that was devastated by the Woolsey Fire of 2018. This project presented a unique opportunity to rebuild, focusing on the property's inherent potential while adhering to stringent fire-rebuild codes. The architectural approach by Klopf Architecture transformed these limitations into assets, guiding the design process. The city's fire-rebuild regulations dictated that the new structure closely mirror the original footprint, size, and bulk. This constraint, rather than hindering creativity, provided a clear direction for the architectural development. The house is strategically positioned near the front of a long, narrow lot, offering views of a private, park-like rear expanse, a rare feature in Malibu. Without a fixed program from a client, Klopf Architecture explored how a modernist home could best interact with its specific environment. The design team posed a foundational question: How would a modernist inhabit this space, and what spatial qualities would foster tranquility, connection, and awe? This inquiry shifted the process from problem-solving to architectural storytelling, where the site, natural light, and principles of modern design informed the home's form and flow. The design culminated in a glass-box pavilion, an open-plan space inspired by Mid-Century Modern aesthetics. This central area, encompassing the living, dining, and kitchen, appears to float at the edge of the property's natural slope. It connects to the more private sections of the home via a glass-walled hallway, establishing the pavilion as the design's focal point. The pavilion opens on all four sides to the surrounding landscape, featuring decks and patios, an internal garden and water feature to the north, and an expansive, unobstructed view of the backyard and ocean to the south. Despite the mandated footprint, meticulous planning ensured that every area of the house engaged with natural light or the landscape. Strategic atriums and courtyards were incorporated to allow daylight to penetrate deep into the home's interior, creating a bright and open atmosphere. These elements also blurred the boundaries between indoors and outdoors, expanding the perceived space and strengthening the home's connection to its natural surroundings. The house's unique character is further enhanced by its prominent siting, contrasting with neighboring homes that recede into their backyards. From the central living pavilion, descending into the landscape evokes the sensation of entering a secluded park, complete with an existing accessory structure, a trail, and recreational areas. The home's unassuming street facade belies the unfolding drama of space, views, and nature within. Integrating fire-resilient materials and assemblies was crucial throughout the design. Features such as triple-pane glazing, under-slab and roof insulation, and locally sourced fire-rated cladding ensure that the house not only complies with California's stringent wildland-urban interface (WUI) standards but also harmonizes with them effortlessly. While technical challenges arose, particularly concerning the cantilevered glass box, the team found functional compromises that upheld the design's integrity. The interior reflects a restrained palette and an exposed post and beam structure, celebrating Mid-Century Modern principles. A central circulation spine extends from the entry to the rear glass wall, providing an uninterrupted visual link from the street to the ocean. Even more intimate spaces, such as the library and office, maintain a connection to nature, each opening onto its own courtyard or garden view. The project, conceived within a strict regulatory framework and without an initial client, developed with remarkable clarity. Its design is rooted in site-specific logic, refined by limitations, and emphasizes timeless spatial relationships, including light, proportion, and a strong connection to nature. The outcome is a design that is both effortless and inspiring. The home integrates seamlessly with its environment, opening generously to its surroundings, and achieves a delicate balance between privacy, openness, and tranquility. For Klopf Architecture, this project serves as a compelling demonstration of how site conditions, building codes, and circumstantial constraints can inspire enduring modernist architecture. Leveraging their extensive experience in reinterpreting mid-century modern design for contemporary living, the firm viewed the project's limitations as opportunities. The final residence is characterized by open, flowing spaces, strong indoor-outdoor connections, and a calm, clear structural aesthetic, illustrating that architectural innovation can thrive even under strict constraints, allowing modernism to evolve. #MalibuArchitecture #GlassBoxHouse #KlopfArchitecture #ModernHomeDesign #CaliforniaResidence #FireRebuildCodes #MidCenturyModern #IndoorOutdoorLiving

Between the 1860s and 1910s, Venetian glass, particularly from the island of Murano, emerged as a highly coveted luxury item globally, captivating both American elites and artists. This period saw a significant cultural impact in the United States, with homes and institutions being adorned with these glass creations. Art critic James Jackson Jarves, for instance, accumulated approximately 300 pieces, which he later donated to the Metropolitan Museum of Art. American artists residing abroad not only depicted glass objects in their works but also captured the essence of the Venetian glassmaking industry, including glass blowers, bead stringers, and glowing furnaces, in their paintings, watercolors, and prints. Venice had a long-standing history of glass production dating back to the Middle Ages. However, its economic decline, loss of political autonomy, and high tariffs in the 18th and early 19th centuries led to a cessation of its 500-year-old glassmaking tradition. The city itself also fell into disrepair by the 1850s. The revival of Venetian glassmaking began when Antonio Salviati, a lawyer, observed the deteriorating mosaics of St. Mark’s Basilica. He established a mosaic and glassmaking manufacturing business, bringing together descendants of old glassmaking families who helped rediscover lost techniques from the Renaissance and ancient Rome. To expand his enterprise, Salviati opened a showroom in London, exhibited his works at international fairs, and distributed his glass through esteemed American retailers like Tiffany & Co. His workers, meanwhile, developed innovative techniques and styles that attracted numerous American collectors, tourists, and artists. The book, "Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano," edited by Crawford Alexander Mann III and published by Princeton University Press, delves into this resurgence of Venetian glass and its influence on American concepts of taste, labor, and beauty during this critical era. This extensively illustrated book accompanies a traveling exhibition, which has been showcased at the Smithsonian American Art Museum in Washington, DC. Artists like James McNeill Whistler, who visited Venice in 1879, found the city and its glass intoxicating. His 1880 etching, "Nocturne: Furnace," illustrates a glassblower working at night, observed from a gondola. John Singer Sargent’s paintings depict young women engaged in labor within the city and factories, offering a realistic portrayal of the work involved in producing glass, lace, and other crafts. Other American artists like Ellen Day Hale focused on the electrification of glass street lights and lamps in Venice, while Louise Howland King Cox portrayed glass pieces as delicate elements of daily domestic life. Over time, Venetian glass profoundly influenced American glassmakers and consumers. Venice further solidified its artistic standing by establishing its biennale in 1895, where Murano glassworkers frequently held concurrent exhibitions of their creations. As the reputation of Venetian glass grew, its perceived value increasingly shifted towards fine art, as encapsulated by Oscar Wilde’s observation that a painting, in its primary aspect, possesses no more spiritual message than an exquisite fragment of Venetian glass. This historical account highlights the significant interplay between art, industry, and cultural exchange, demonstrating how Venetian glass transcended its functional purpose to become a symbol of beauty and artistic expression, deeply influencing American aesthetic sensibilities and artistic production during the late 19th and early 20th centuries. The book and accompanying exhibition serve as a testament to the enduring allure and historical significance of Murano glass. #VenetianGlass #AmericanArt #MuranoGlass #ArtHistory #GlassMaking #LuxuryItems #CulturalExchange #ArtExhibitions #PrincetonUniversityPress

During Vienna Design Week, Czech designer Maxim Velčovský from Studio Qubus presented a unique installation and a new collection of glasses for the renowned Viennese crystal brand Lobmeyr. This project was part of the "Passionswege 2008" (Paths of Passion) initiative, which invited ten designers to create site-specific installations in Viennese shops, aiming to showcase young, international design and charm the public with unique locations. Velčovský's installation in Lobmeyr's showroom featured four "magic lantern" skylines, conceptualized from elements of Lobmeyr chandeliers. These skylines represented iconic cities: Moscow, London, New York, and Medina. The crystal components, carefully arranged within stacked packing cases, were backlit to project the respective city's silhouette onto a screen, creating a dynamic visual narrative. The inspiration for this project stemmed from Velčovský's exploration of Lobmeyr's extensive archives and storage facilities, particularly a cellar filled with hundreds of boxes containing chandelier parts. These parts were originally manufactured for grand projects around the world, including the Metropolitan Opera in New York, the Kremlin, and various Arabian palaces. Velčovský expressed his fascination with the intricate craftsmanship and historical significance of these unused components, some of which had been stored for decades. His objective was to reimagine their function and integrate them into a contemporary context. The installation, designed as a three-dimensional composition, aimed to revive these dormant parts by employing the principles of "Laterna Magika" and "Shadow Theater." The projected shadows transformed the crystal elements into luminous objects within the interior space, creating a "Fata Morgana" effect that referenced the global locations of Lobmeyr's past creations. This concept not only highlighted the company's rich heritage but also presented it in a new, artistic light. Complementing the installation, Velčovský also designed a series of new crystal glasses. These glasses are a fusion of traditional Lobmeyr glass shapes with salvaged chandelier parts, serving as their bases. This design choice created a contrast between the lightness and elegance of the glass and the historical weight and diverse origins of the chandelier elements. The unique series underscored Lobmeyr's legacy of perfect craftsmanship and loyalty to tradition, while simultaneously introducing a contemporary reinterpretation of their classic designs. Overall, Velčovský's project for Lobmeyr at Vienna Design Week served as a testament to the enduring beauty and versatility of crystal, bridging the gap between historical craftsmanship and innovative design. It invited viewers to appreciate the artistry of crystal in a new light, both literally and figuratively, by transforming archival pieces into a captivating visual and functional experience. #Vienna #MaximVelcovsky #StudioQubus #Lobmeyr #CrystalGlasses #DesignInstallation #ViennaDesignWeek #ChandelierParts #DesignHeritage

The art of glassblowing, once considered a craft material, has experienced a resurgence in the design world, captivating a broader audience and establishing itself as a significant frontier in contemporary design. This renewed interest is evident in various high-profile showcases, including Bradley Bowers’s large-scale Fiosa vase at Dolce & Gabbana’s Salone de Mobile exhibit, a new record-setting hand-blown glass bottle at the Museum of American Glass, and the popularity of the Netflix series "Blown Away." This growing fascination highlights a consumer demand for innovative and unique designs. Designers and artisans are pushing the boundaries of traditional glassblowing techniques, creating pieces that are both functional and artistic. This article features six such artists whose work exemplifies this innovative spirit. Ursula Futura, based in Vienna, crafts sculptural Eclipse Vases with elegant carved windows. These mouth-blown vases showcase an interplay of light and varied hues, drawing inspiration from nature, science, and moments of wonder. The studio aims to evoke joy and curiosity through its designs. Another featured collaboration brings together film producer Rebecca Marks and Venetian glass designer Paola Petrobelli, resulting in the Verdi II and Ambra Murano Portable lamps. These miniature, cordless, rechargeable, and water-resistant lamps come in seven colors and feature Murano glass with distinct gems at their core, providing a striking contrast against their colorful outer shades. These portable lights offer both practicality and aesthetic appeal. Seattle-based glass artist John Hogan presents his latest collection, "Menagerie," for the Future Perfect gallery. This collection comprises 105 palm-sized glass objects, emphasizing that impactful design doesn't always require large scale. Hogan's technique involves working with glass in its cold state, resulting in a vibrant and refreshing interpretation of the ancient art form. The Kaanch Glass Series Vessel I is a product of a collaboration between Guatemalan-based Diego Olivero Studio and artisans in New Delhi. The series, whose name "Kaanch" means "glass" in Hindi, includes 11 abstract, colorful vessels and lights. These pieces feature playful shapes welded onto clear borosilicate glass surfaces, known for its resistance to temperature changes, making them both durable and visually appealing. Sticky Glass, a Brooklyn-based design company, showcases its lighting collection, including Bubble Pendants and Mingling Lamps. Each piece is hand-blown, highlighting the fluid nature of glass through its bubble formations, and finished with a custom brass base for a modern touch. The company affectionately calls these "lights that hug," reflecting a current trend toward "blobby" and organic forms in design. Finally, designer Laura Kramer’s Marie vessel, displayed at the Heller Gallery, draws inspiration from natural scenes like barnacles on a boat hull. Her work aims to explore the "hybridity of made and natural materials," questioning traditional classifications and delving into liminal spaces between categories. These pieces exemplify how art can not only mimic nature but also enhance and reinterpret its perceived imperfections. Collectively, these artists demonstrate a commitment to innovation, artistry, and the continuous evolution of glass as a medium in the design world. Their works range from functional lamps to sculptural vases, all united by their exceptional craftsmanship and ability to transform molten glass into captivating objects that resonate with contemporary aesthetic sensibilities. #Glassblowing #HomeAccessories #ContemporaryDesign #ArtisanCraftsmanship #InteriorDecor #MuranoGlass #LightingDesign #SculpturalVases

Valentino has undertaken a significant transformation of an iconic space on New York’s Madison Avenue, formerly the flagship store for Calvin Klein until 2019. This new three-floor boutique, a testament to Italian style, spans an impressive 1,142 square meters and is nestled behind the neoclassical limestone facade of a 1927 building, featuring soaring fluted columns. The redesign not only continues Valentino's refreshed architectural approach but also integrates a robust cultural component. Upon entering the ground floor through grand double doors, visitors are immediately immersed in the monumental scale of the space, characterized by towering seven-meter-tall ceilings and exposed steel columns. These industrial elements are softened by luxurious touches such as a statuesque green onyx display, elegant trompe l’oeil marble carpets, and plush red velvet seating. This floor is primarily dedicated to showcasing Valentino’s extensive collection of footwear and accessories. A distinct 'jewel-box' area, adorned with rich red velvet walls, offers a curated selection of the label’s ready-to-wear pieces, providing an intimate shopping experience within the expansive store. A dramatic and intricately designed staircase, crafted from a harmonious blend of various marbles—including striking red travertine, pristine white Bottinico, and deep black Marquino—serves as a central architectural feature, leading guests to the second floor. This upper level is exclusively dedicated to the women’s ready-to-wear collection. The design ethos of the second floor mirrors the ground level, maintaining a cohesive material palette. It is distinguished by giant red lacquered wardrobes, which add a vibrant splash of color, and an eye-catching black and white marbled checkered floor, reinforcing the store's sophisticated and luxurious ambiance. In the more exclusive VIP areas, which include private sitting rooms and dressing spaces, the design carefully cultivates a residential feel. This is achieved through the incorporation of bespoke chandeliers by Roll & Hill, elegantly designed chairs by French architect Charles Zana, and artisanal ceramics by Massimiliano Pipolo. These carefully selected pieces contribute to an atmosphere of refined comfort and exclusivity. This residential influence extends to the men’s collection floor, located in the building’s basement, which features a sprawling 1970s DeSede ‘Snake’ sofa and iconic Mario Bellini Camaleonda sofas and poufs from the same era. These vintage furniture pieces inject warmth and character into the underground space, making it both stylish and inviting. A unique aspect of the new New York flagship is the dedication of its mezzanine floor to art. This space will host a rotating exhibition program featuring local galleries, commencing with the Magazzino Italian Art. The store’s grand opening is marked by an exhibition of large-scale paintings by Mario Schifano, which further reinforces Valentino’s deep connection to its Italian heritage and artistic identity. The integration of art within the retail environment enhances the customer experience, transforming a shopping trip into a cultural immersion, and underscores Valentino's commitment to design, luxury, and artistic expression. #ValentinoStore #MadisonAvenue #LuxuryRetail #StoreDesign #FashionBoutique #InteriorArchitecture #NewYork #ItalianStyle #ArtIntegration

The emergence of glass houses stands as a pinnacle of modernist design, with materials like glass, steel, wrought iron, and concrete defining a significant architectural movement and captivating the imagination of architects worldwide. Glass structures, renowned for their lightness, transparency, translucency, and reflectivity, offer an unparalleled ability to reveal a home's interior while fostering a deep connection with nature. Iconic examples such as Mies Van Der Rohe’s Farnsworth House in Illinois and Philip Johnson’s Glass House in Connecticut are celebrated as seminal works that ingeniously captured the zeitgeist. The period of postwar America saw a boom in experimentation and expansion, leading to the widespread popularity of glass as a primary building material for residential homes. This architectural style has since transcended geographical boundaries, inspiring architects across continents, including South Africa, Vietnam, and Brazil. A new publication from Phaidon showcases 50 such homes, highlighting extraordinary architectural achievements that thoughtfully and compellingly incorporate glass. This article spotlights 15 of these beautiful glass houses, making a strong case for integrating glass into modern home design, suggesting a departure from traditional materials like brick, stone, timber, and concrete. Among the featured homes is the Shokan House in New York, designed by Jay Bargmann, which appears to organically emerge from the Catskills hillside. Despite its imposing structure, the house's highly reflective glass panels and black steel frame create an immersive natural experience. Similarly, the Glass Pavilion in Spain’s Gorafe desert, by Ofis Arhitekti, offers a tranquil retreat. Its triple-glazed, mirrored-glass panels effectively deflect sun rays and withstand extreme desert conditions, providing an essential and serene holiday escape. The Tower House in upstate New York, by Gluck+, features an unconventional design that minimizes its footprint by elevating living areas into the sky, supported by a V-shaped beam. The upper floor provides an expansive, nature-enveloped view, reminiscent of a modern treehouse. In Paris, the Maison de Verre, designed by Pierre Chareau and Bernard Bijovet, challenged architectural norms by using industrial materials like glass blocks and steel beams in a residential setting. The Sheats-Goldstein Residence in Los Angeles, by John Lautner, built in 1963, seamlessly integrates with its landscape through floor-to-ceiling glass panels, offering panoramic views of the city. Philip Johnson’s Glass House in Connecticut, an homage to Mies Van Der Rohe, is a celebrated example of glass architecture, serving as Johnson’s primary residence for nearly sixty years. Lina Bo Bardi’s Glass House in São Paulo, Brazil, known as Casa de Vidro, is celebrated for its wrap-around glass windows and stilted design, creating a treehouse-like feel amidst lush rainforest vegetation. The Flip House in San Francisco, by Anne Fougeron, is recognized for its innovative floor plan, utilizing a prismatic custom-built glass façade to maximize natural light and offer dynamic city views. The Kramlich Residence and Collection in Napa, California, designed by Herzog & de Meuron, integrates art and living spaces through two intersecting curved glass panels, showcasing a significant collection of video and media art. The Glass-Block Micro House in Ho Chi Minh, Vietnam, by Room+ Design and Build, demonstrates an affordable and functional use of glass bricks for a small 18-square-meter home, allowing ample natural light and creating a lantern-like effect. Pierre Koenig’s 1960 Stahl House in Los Angeles, also known as Case Study House #22, epitomizes postwar modern living with its glass and steel construction, offering sweeping views of the city. The Conservatory in Zwavelpoort, South Africa, by Nadine Engelbrecht, features a double-height glass and steel conservatory as its focal point, blending indoor and outdoor living. Villa Kogelhof in the Netherlands, by Paul de Rutter Architects, is a futuristic, energy-neutral home that harnesses wind, sun, and rain, encapsulated by a functional glass façade. Mies van der Rohe’s Farnsworth House in Illinois, built between 1945 and 1951, challenged notions of privacy by using floor-to-ceiling glass windows, relying on the surrounding forest for concealment. Finally, the Mirror Houses in Bolzano, Italy, by Peter Pichler Architecture, reflect their idyllic surroundings with mirrored-glass façades, offering autonomous holiday homes that subtly blend into the landscape. #GlassHouses #ModernistDesign #ArchitecturalInnovation #SustainableLiving #LuxuryHomes #InternationalArchitecture #HomeDesign #ContemporaryArchitecture #ResidentialDesign