#antonio molteni

[assowebtv]

MAGREGLIO: INAUGURATA LA NUOVA STAGIONE DEL MUSEO DEL CICLISMO

All’inaugurazione, sabato 9 marzo, al Museo del Ghisallo per il classico taglio del nastro è arrivato anche Gianni Bugno, correndo di qua e di là sulle strade della promozione del ciclismo di oggi, con la solita generosità il campione ha partecipato al rito collettivo dell’inaugurazione insieme naturalmente al presidente della Fondazione Museo del Ciclismo Madonna del Ghisallo di…

[clove-pinks]

Portrait of Marchese Antonio Visconti Aimi by Giuseppe Molteni, c. 1830–1835.

[mondosalamone]

Algunas fotos nocturnas de Balcarce que nunca había compartido. Son del invierno de 2013, la última vez que estuve por allá.

El edificio es la originalmente Escuela Normal Rural (Actual Escuela de Educación Secundaria N.º 1 Antonio González Balcarce) institución creada en 1933 para la formación de maestras agrícolas. Fue promovida por el entonces intendente Miguens y construida por Salamone en 1938 frente a la plaza Libertad. Esta escuela pertenecía a la Dirección General de Escuelas Provincial e integró las llamadas "escuelas profesionales", que formaban parte del proyecto educativo fresquista.

La remodelación de la plaza Libertad, que abarca cuatro manzanas, resultó ser innovadora y audaz para la época, al permitir la entrada de automóviles al interior de la plaza y crear una rotonda central que rodeaba un conjunto escultórico-funcional: la pirámide de Mayo acompañada por una confitería circular, demolida poco tiempo después.

📖 Longoni, R., Molteni, J. C., & Salamone, F. (2004). Francisco Salamone: Sus obras municipales y la identidad bonaerense. La Plata: Provincia de Buenos Aires, Inst. Cultural, Dirección Provincial de Patrimonio Cultural Archivo Histórico “Dr. Ricardo Levene”.

[lamilanomagazine]

Al via la dodicesima edizione del Premio giornalistico Benedetta D'Intino

Al via la dodicesima edizione del Premio giornalistico Benedetta D’Intino. Quando bambini e adolescenti abitano lo spazio digitale: rischi e opportunità per la crescita e lo sviluppo delle relazioni. È dedicata a questo tema la dodicesima edizione del Premio giornalistico promosso dalla Fondazione Benedetta D’Intino, ente che affianca e sostiene l’omonimo Centro clinico milanese da trent’anni impegnato ad assistere bambini e ragazzi con disagio psicologico e disabilità comunicativa grave, insieme alle loro famiglie. "In un’epoca di iper-connessione, soprattutto per i più giovani, il ruolo delle tecnologie assume una dimensione sempre più sociale ma strettamente connessa con lo sviluppo e la crescita personale ed emotiva - dice Mattia Formenton, presidente della Fondazione Benedetta D’Intino -. Con questo riconoscimento vogliamo premiare chi nel mondo dell’informazione riuscirà a portare una riflessione originale e obiettiva sul tema, che aiuti a interpretare il fenomeno tenendo in considerazione le sue molteplici sfaccettature." Il concorso è rivolto ai giornalisti professionisti e pubblicisti che tra l’1 settembre 2023 e il 30 giugno 2024 pubblicheranno articoli su un quotidiano, un periodico, una testata on-line o realizzeranno servizi o inchieste per la radio o per la tv in merito a questo argomento. Per partecipare c’è tempo fino al 3 luglio 2024. Le candidature vanno inviate attraverso posta elettronica all’indirizzo premiogiornalistico@benedettadintino.it (per info www.benedettadintino.it). I vincitori delle due categorie articoli giornalistici e servizi audio e video giornalistici riceveranno, rispettivamente, un premio di 1.000 euro, al lordo delle ritenute di legge. Gli elaborati saranno valutati da una giuria di giornalisti composta da Armando Besio, Cristina Carpinelli, Salvatore Carrubba, Giancarlo d’Adda, Ferruccio De Bortoli, Paola Molteni, Andrea Monti, Barbara Rachetti, Antonio Rizzolo, Ira Rubini, Giangiacomo Schiavi, Carla Vanni, Pier Luigi Vercesi, Andrea Vianello e da un comitato tecnico rappresentato da Wally Capuzzo, psicologa psicoterapeuta, Nicola Corti di Fondazione Allianz UMANA MENTE, Stefano Malfatti dell’Istituto Serafico di Assisi, Alessandra Schiaffino, psicologa e psicoterapeuta, Aurelia Rivarola, Mattia Formenton, Silvia D’Intino, Anna Erba, Ivana Olivieri, Ilaria Dufour della Fondazione e del Centro Benedetta D’Intino. Fondazione Benedetta D’Intino: Nasce nel 1992 per volontà delle famiglie Mondadori, D’Intino e Formenton in ricordo della piccola Benedetta. È un ente non profit che si si occupa di bambini con grave disabilità comunicativa e con disagio psicologico, sostenendo le loro famiglie. Opera attraverso l’omonimo Centro clinico che assiste circa 400 bambini l’anno offrendo loro il supporto di professionisti con una formazione specifica e una lunga esperienza nel trattamento di problemi psicologici e disabilità. Al suo interno è presente anche una Biblioteca Speciale per bambini con disabilità motoria e di comunicazione. La Fondazione è stata la prima in Italia a istituire una Scuola di Formazione in Comunicazione Aumentativa Alternativa che, in circa trent’anni, ha formato oltre 1.000 operatori della riabilitazione e dell’educazione. Nel 2022 la Scuola è diventata Master di primo livello in Comunicazione Aumentativa Alternativa in collaborazione con l’Università Cattolica del Sacro Cuore di Milano.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[fashionbooksmilano]

11 09 2001 per non dimenticare mai

a.d.Walter Ravizza, progetto grafico Studio RW, foto Studio Uno

Grafiche Mariano, Mariano Comense 2002,

euro 40,00

email if you want to buy :booksinprogressmilano@yahoo.it

Moda e design, insieme, per aiutare i figli dei vigili del fuoco e dei poliziotti italo-americani rimasti orfani dopo la tragedia dell'11 settembre. L'Assessore  della Regione Lombardia Giorgio Pozzi si è fatto promotore dell'iniziativa "New York 11 settembre per non dimenticare mai" . Un'asta benefica sarà battuta gratuitamente da Christie's la sera del 25 novembre presso il Casinò di Campione d'Italia: quaranta pezzi esclusivi frutto dell'ingegno di designer lombardi saranno aggiudicati nel corso della serata. Per far conoscere gli oggetti che saranno battuti il 25 novembre è stato realizzato un elegante catalogo che riunisce tutte le opere d'arte con foto e dettagli. Tra gli stilisti che hanno aderito all'iniziativa ci sono Gucci, Moschino, Versace, Emilio Pucci, Etro, Les Copains, Rocco Barocco, Alberta Ferretti. Ampiamente rappresentato il mondo del design d'arredo con Cassina, Giorgetti, Cappellini, B&B Italia, Molteni e Poliform.         "Il coinvolgimento degli stilisti - ha affermato Beppe Modenese testimonia l'impegno e la presenza dell'Italia ad un'iniziativa importante con le sue espressioni più significative di moda e design, due settori che finalmente hanno ricominciato a camminare di pari passo riportando il nostro Paese in primo piano a livello mondiale".  La Regione Lombardia ha dato vita a questo evento perché il sentimento era di realizzare istituzionalmente qualcosa di "concreto e ben tangibile": lavorando insieme all'Azienda Riva 1920 sono stati realizzati quattro tavoli "unici esemplari" (in legno Kauri millenario) ideati e firmati da designer di fama mondiale come Renzo e Matteo Piano, Antonio Citterio, Terry Dwan e Paolo Pininfarina. Poi l'invito è stato esteso alle più rappresentative firme del Design e della Moda Italiana. Di qui la presenza di un abito in metallo multicolor firmato da Versace, un cappotto in velluto con ricami a mano a motivo floreale di Etro, la borsa a tracolla prodotta a tiratura limitata da Emilio Pucci ispirata alla collezione privata di Marilyn Monroe, soltanto per citare alcuni oggetti.

20/08/22

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[brokehorrorfan]

Blu-ray Review: Forgotten Gialli: Volume 3

Vinegar Syndrome launched its first Forgotten Gialli Blu-ray box set less than a year ago, but the powerhouse distributor is already on the third volume of obscure giallo (European murder-mystery) films. The latest installment features 1972's Murder Mansion (also known as The Mansion in the Fog), 1975's Autopsy (also known as The Victim), and 1977's Crazy Desires of a Murderer (also known as The Morbid Vices of a Housekeeper).

Murder Mansion is a Spanish-Italian co-production that only classifies as a giallo by a rather liberal definition. It starts out slow; the first line of dialogue isn't spoken until six minutes in, after the opening title sequence and a lengthy driving scene. When the night is consumed by fog, a group of strangers from different backgrounds seek refuge in an old mansion next to an abandoned village where local legends say vampires once resided. It's not long before they suspect that ghosts have risen from the nearby graveyard.

Written by Luis G. de Blain and Antonio Troiso (Beyond the Door), the murder-mystery aspects are more Agatha Christie - or even Scooby-Doo, given the cartoonish reveal - than giallo, lacking many of the subgenre's hallmarks; but even more so director Francisco Lara Polop seems to be drawing influence from gothic horror in both approach and execution. The chilling atmosphere is palpable as soon as the fog rolls in, but the first body doesn't pop up until nearly an hour into the 86-minute film. The last act makes admirable attempts to compensate with scares and shocks.

Murder Mansion has been newly restored in 4K from its 35mm original camera negative. It includes the original Spanish language audio with newly translated English subtitles as well as the English and Italian dubs. The disc includes a 20-minute interview with actress Evelyn Stewart (The Psychic). While she admittedly doesn't remember the specifics about much of the production, she recalls working with the special effects and explains her use of a stage name. She’s noticeably pleased by the film, particularly Polop's direction.

The most well-known title among the three Forgotten Gialli sets, Autopsy opens with a montage of grisly suicides plaguing Rome, purported to be caused by sun spots. A young, female pathologist (Mimsy Farmer, Four Flies on Grey Velvet), serendipitously writing a thesis on the differences between simulated and authentic suicides, teams up with an epileptic race car driver-turned-priest (Barry Primus, Boxcar Bertha) following the alleged suicide of his sister to investigate.

Directed by Armando Crispino (The Dead Are Alive), who co-wrote the script with Lucio Battistrada, the Italian giallo is convoluted even by the subgenre's standards. It's also shockingly sleazy, from a misogynistic coroner to maddening visions of being molested by cadavers. The film is uneven in both tone and pacing and bloated at 100 minutes, but it ends on a high note with a memorable finale. On the whole, it's more unnerving than most gialli, due to the taboo buttons it pushes as well as the hints of surrealism in which Crispino indulges. A score by Ennio Morricone (The Thing, The Good the Bad and the Ugly) certainly doesn't hurt.

Autopsy has been newly restored in 2K from its 35mm original camera negative. It includes both the English and Italian (with newly translated English subtitles) mono soundtracks. It offers a variety of special features: a featurette on Crispino consisting of 38 minutes of insight from the late director's son, Francesco Crispino; a 10-minute interview with Francesco Crispino, who dissects various versions of the film and discusses his father's influences; an 11-minute interview with editor Daniele Alabiso conducted by Francesco Crispino, in which they examine the film's peculiar rhythm; an introduction by the director from a screening; alternate Italian titles and credits; and the theatrical trailer.

If only Crazy Desires of a Murderer's plot was as stimulating as its traditionally verbose giallo title. It centers around an affluent, globe-trotting countess, Ileana (Isabelle Marchall, Black Emanuelle). She returns to her familial castle with new friends she met while traveling in China, who unwittingly used her as a drug courier. Meanwhile, her traumatized half-brother is kept locked away in the basement. But those are the least of her problems once someone starts murdering the inhabitants of the castle.

Aesthetically, this one most closely resembles a traditional giallo. What the drab castle lacks in color palette, director Filippo Walter Ratti and cinematographer Gino Santini (Django the Bastard) make up for with interesting camerawork. There's also ample gore, as the killer's modus operandi involves removing the victims' eyes, and heavy doses of sleaze, although it pales in comparison to Autopsy. But writer Ambrogio Molteni (Black Emanuelle) employs an Agatha Christie-esque sleuth (Corrado Gaipa, The Godfather) to solve the mystery, and the abundance of clunky procedural scenes weigh down the film.

Crazy Desires of a Murderer has been newly restored in 4K from its 35mm original camera negative with Italian mono audio and newly translated English subtitles. The disc includes a 15-minute interview (in Italian with subtitles) with actor Giuseppe Colombo (who more notably went on to produce The Stendhal Syndrome and other Dario Argento productions). He candidly recalls frequent disagreements with Ratti and other drama that befell the production.

While the films are hit or miss, the experience of unearthing them is always a thrill. Even the packaging is great, with each film in its own individual Blu-ray case with reversible artwork, all of which are housed inside a sturdy box (limited to 6,000). Between Forgotten Gialli and the forthcoming Home Grown Horrors, I hope Vinegar Syndrome never stops spoiling us with box sets of hidden gems.

Forgotten Gialli: Volume 3 is available now on Blu-ray via Vinegar Syndrome.

[corallorosso]

E meno male che i politici dovrebbero governare ‘con disciplina e onore’! di Sandra Caliccia I politici, come tutti coloro che svolgono funzioni pubbliche, sono tenuti, secondo l’Art. 54 della Costituzione, a servire il Paese “con disciplina e onore”, e i ministri devono giurare di esercitare la loro funzione “nell’interesse esclusivo della Nazione”. Magari gli italiani smemorati e quasi tutti i giornali e i commentatori televisivi – folgorati sulla Via di Damasco dall’arrivo di Mario Draghi – non sono scoppiati a ridere quando hanno sentito giurare davanti a Sergio Mattarella i ministri di Forza Italia, della Lega e di Italia Viva, ma di certo i polli si sono scompisciati. Perciò, prima di mangiare pollo, informatevi sull’effetto che la morte per eccesso di risate può avere su questi volatili. L’azione di Matteo Renzi, concertata con la destra e con i renziani rimasti nel Partito Democratico come quinta colonna e volta a far cadere il governo Conte perché non potesse gestire i soldi del Recovery Fund, purtroppo ha raggiunto lo scopo e ha riportato al governo personaggi della Lega e di Forza Italia, che ci eravamo finalmente levati di torno e che mai avrebbero dovuto riavere posti di responsabilità pubblica. Per valutare il grado di onore e disciplina della destra che alligna in Italia, sarà utile ricordare a chi ha la memoria corta due episodi. Il primo risale al 2008. Quando il secondo Governo Prodi cadde perché non ebbe la fiducia al Senato per due o tre voti, i senatori della destra – Forza Italia, Lega, Alleanza Nazionale –, per dimostrare la loro felicità, gozzovigliarono in aula abbuffandosi di mortadella (in spregio al bolognese Prodi) e inondando i banchi di spumante. Si vedano su Internet le foto del senatore Nino Strano che si ingozza di mortadella, e degli starnazzamenti di tutti gli altri. Tuttavia, il secondo episodio fu ben più grave e molti di certo lo ricordano. Il 5 aprile del 2011, 232 deputati del Popolo della Libertà (Pdl) – nuovo partito costituito dalla fusione di Forza Italia e Alleanza nazionale – 59 della Lega, 21 dei Responsabili, tra cui Antonio Razzi e Domenico Scilipoti – che Silvio Berlusconi aveva comprato (lui sì, Giuseppe Conte no) nel dicembre del 2010 per assicurarsi la fiducia in un momento di difficoltà del suo governo – più altri tre votarono compatti che Ruby Rubacuori, la minorenne marocchina che partecipava alle serate pornografiche ad Arcore, arrestata per furto e che Berlusconi aveva fatto rilasciare telefonando ben sette volte alla Questura di Milano, era per lo Stato la nipote dell’ex presidente egiziano Mubarak. Questo voleva dire che Berlusconi aveva telefonato in qualità di premier e che le sue erano telefonate di Stato. Per conseguenza Berlusconi, che era stato accusato di concussione e prostituzione minorile dalla procura di Milano, doveva essere giudicato dal Tribunale dei ministri. Nel febbraio del 2012 la Corte Costituzionale, cui spettava la decisione, respinse la richiesta, ma resta il fatto che 315 deputati della destra ebbero la faccia tosta di votare scientemente una cosa falsa, di avallare una menzogna. L’attuale presidente del Senato, Maria Elisabetta Casellati (Fi) non solo votò il falso ma dichiarò in televisione che in un incontro ufficiale Mubarak aveva presentato Ruby a Berlusconi come sua nipote. Ebbene, alcuni di questi “onorevoli” senza onore ce li ritroviamo oggi al governo: Francesco Paolo Sisto (FI), Deborah Bergamini (FI), Nicola Molteni (Lega) come sottosegretari, e Renato Brunetta (FI), Maria Rosaria Carfagna (FI), Mariastella Gelmini (FI), Giancarlo Giorgetti (Lega) come ministri. Abbiamo al governo anche Teresa Bellanova, Ivan Scalfarotto come sottosegretari e Elena Bonetti come ministra per le Pari Opportunità e la Famiglia. Sono i tre eroici esponenti di Italia Viva che avevano lasciato coraggiosamente le loro poltrone con spirito di sacrificio per far crollare il governo Conte e salvare così il Paese. Certo che la velocità con cui se le sono riacchiappate non è di molto inferiore a quella della luce.

[montecristoproject]

Montecristo Project is glad to partecipate in Supercondominio 2 at Museo d’Arte Contemporanea Castello di Rivoli, curated by Laura Lecce and Caterina Molteni with the supervision of Carolyn Christ-Bakargiev. We’ll be presenting our project “A guide-tour of Sardinian archaic, weird and marvelous stone sculpture (La Costante Resistenziale); pic: Antonio Tiddia, brick-head, as part of the presentation for the Dutch Art Institute #25 in Cagliari

[giallofever2]

1963 Ieri, oggi, domani (1963) Also Known As (AKA) Argentina Ayer, hoy y mañana Belgium (Flemish title) Gisteren, vandaag en morgen Bulgaria (Bulgarian title) Вчера, днес, утре Brazil Ontem, Hoje e Amanhã Colombia Ayer, hoy y mañana Denmark Igår og idag og imorgen Spain Ayer, hoy y mañana Finland Eilen, tänään, huomenna Finland (Swedish title) I går, i dag och i morgon France Hier, aujourd'hui et demain Georgia Gushin, Dges, Khval Greece (transliterated) Hthes, simera, avrio Greece Χθες, σήμερα, αύριο Hungary Tegnap, ma, holnap Italy (alternative spelling) Ieri oggi domani Italy (poster title) Ieri, oggi, domani Japan Kinô, kyô, ashita Mexico Ayer, hoy y mañana Norway I går, i dag og i morgen Poland Wczoraj, dzis, jutro Portugal Ontem, Hoje e Amanhã Serbia Juče, danas i sutra Sweden I går, i dag, i morgon Soviet Union (Russian title) Вчера, сегодня, завтра Turkey (Turkish title) Dün, bugün, yarin West Germany Gestern, heute und morgen World-wide (English title) Yesterday, Today and Tomorrow Directed by Vittorio De Sica Music by Armando Trovajoli Release Dates Italy 21 December 1963 UK 1964 USA 17 March 1964 Sweden 24 April 1964 France 15 May 1964 Argentina 21 May 1964 Japan 1 June 1964 West Germany 19 August 1964 Denmark 7 September 1964 Mexico 8 October 1964 Belgium 23 October 1964 (Gent) Colombia 11 February 1965 Hungary 22 June 1967 Finland 7 February 1969 Spain 29 March 1975 France 12 August 2009 (re-release) USA 10 November 2014 (AFI Fest) Writing Credits Eduardo De Filippo ... (story) (segment "Adelina") and Eduardo de Filippo ... (screenplay) (segment "Adelina") & Isabella Quarantotti ... (screenplay) (segment "Adelina") Alberto Moravia ... (novel) (segment "Anna") and Cesare Zavattini ... (screenplay) (segment "Anna") & Bella Billa ... (screenplay) (segment "Anna") & Lorenza Zanuso ... (screenplay) (segment "Anna") Cesare Zavattini ... (story) (segment "Mara") and Cesare Zavattini ... (screenplay) (segment "Mara") technical specifications Runtime 1 hr 58 min (118 min) (Argentina & France) 1 hr 57 min (117 min) (Netherlands) 1 hr 59 min (119 min) (USA) Cast Sophia Loren Sophia Loren ... Adelina Sbaratti / Anna Molteni / Mara Marcello Mastroianni Marcello Mastroianni ... Carmine Sbaratti / Renzo / Augusto Rusconi Aldo Giuffré Aldo Giuffré ... Pasquale Nardella (segment "Adelina") Agostino Salvietti Agostino Salvietti ... Dr. Verace (segment "Adelina") Lino Mattera Lino Mattera ... Amedeo Scapece (segment "Adelina") Tecla Scarano Tecla Scarano ... Verace's sister (segment "Adelina") SILVIA MONELLI: ... Elivira Nardella (segment "Adelina") Carlo Croccolo Carlo Croccolo ... Auctioneer (segment "Adelina") Pasquale Cennamo Pasquale Cennamo ... Chief Police (segment "Adelina") Tonino Cianci Tonino Cianci ... (segment "Adelina") (as Antonio Cianci) Armando Trovajoli Armando Trovajoli ... Giorgio Ferrario (segment "Anna") Tina Pica Tina Pica ... Grandmother Ferrario (segment "Mara") Gianni Ridolfi Gianni Ridolfi ... Umberto (segment "Mara") (as Giovanni Ridolfi) Gennaro Di Gregorio Gennaro Di Gregorio ... Grandfather (segment "Mara")

[sebastiankurz]

Inspire yourself with the Best Luxury Interior Design Projects

You don’t have to research a lot to find some amazing interior design projects. In the case of the projects we’re about to show you today, they feature hyper-exclusive brands with incredibly unique designs inspiring us all by how the pieces harmoniously fit together. Shall we take a little look?

Private Villa in London with Circu Magical Furniture

Circu Magical Furniture has been all over the years present in some of the best kids interiors projects in the world. The unique qualities of their pieces make them a premier choice of designers and studios, like in this case with AB+Partners. The white of the walls, the pastel colours and the selective materials dominate the atmosphere. By renouncing the complexity of forms, the studio opted to offer the sumptuousness in another form, so that its splendour is not strident but create the general atmosphere of the villa. The interior has been given luxury notes by integrating golden details, classic wall decoration and fine finishes.

In the sophisticated ambience, imposing luminaires were easily framed, whose sumptuous shapes come to perfectly complement the interior. Thus, the villa borrowed from the classic London style, mixed with modernism, transforming the residence into the perfect place for relaxation and retreat from everyday life. The Fantasy Air Balloon is a themed bed that invokes the romantic and whimsical ambience of a hot air balloon ride! Kids will relate this bed to the Disney movie “Up”, while parents will feel like being transported to the adventurous tale of Phileas Fogg.  This kids bed helps to create a playful environment that triggers children’s curiosity and creativity.

Molteni and Dada Woolworth Tower Private Residence

 As the exclusive custom kitchen partner for the Woolworth Tower Residences at 2 Park Place, Dada continues to elevate its strong presence in this international design city.

The Dada Contract Division outfitted the residential tower with a total of 34 kitchens and 111 vanities. Custom Dada kitchens feature white lacquered bespoke doors, nickel knobs that channel the style of the neo-Gothic building and white Calacatta Caldia marble countertops.

The bathrooms incorporate bespoke Dada lacquered cabinetry with mirrors to complete the ambience. Collaborating closely with internal design teams, Dada created settings uniquely tailored to the building’s particular needs while exemplifying key brand attributes, such as quality, skill and passion.

Armani Casa Private London Residence

Established in 2004 the studio, under the direct supervision of Giorgio Armani, provides a comprehensive design service for a variety of projects: apartments in the most exclusive locations, private yachts and planes, exotic villas and prestigious residential complexes. While implementing the Armani style in different contexts and with different shades, the ultimate aim of the Studio is to respond to the demands and wishes of the client.

A period townhouse, 800 sq. meters on 7 levels. Complete refurbishment, interior design and furnishing project.

Flexform’s Private Living Room in São Paulo

 An elegant São Paulo residence designed by Hueb Ferreira Arquitetos. The signature design look is apparent in the simplicity of the pairing of the travertine floors with a bold shade of dark brown on the painted walls.

The clear chromatic contrast contributes to creating an atmosphere of refined equilibrium. The living room is furnished with a spacious composition of the Groundpiece sofa, designed by Antonio Citterio, upholstered in a light-coloured linen fabric that pairs fittingly with the dark brown cowhide-clad bookshelf-armrest that lends function and personality to the sofa.

Completing the decor, the Fly coffee table in Canaletto walnut that flutters above the unique Bangkok ottoman, also upholstered in dark brown cowhide.

A Private Residence by Flos

You can also read this one: Here are some top projects from New York’s Top Interior Designers

This Private residence, by Flos Furniture, art is everywhere to be found. The architectural features are perfectly merged with the Italian brand’s furniture. The beginnings of Flos (meaning “flower” in Latin) blossomed from a brilliant idea: to create objects, starting with a light bulb, that would change the way of life for both the Italian market and the foreign markets.

In 1972, the “Italy The New Domestic Landscape” show at New York City’s MoMA– the most important museum of contemporary art in America – was a phenomenon of unprecedented popularity celebrating the culture of art and industry. Flos was featured in the show with several pieces – in particular by the Castiglioni brothers – consolidating the brand as an international avant-garde company. From that moment, the firm’s development and its popularity went hand-in-hand. Between the ’70s and ’80s, they expanded their production with new facilities, their market with branches abroad, and their product catalogue (which included the acquisition of dell’Arteluce by Gino Sarfatti).

  Under Piero Gandini’s management, Flos focused on the harmony between iconic forms, artisan craftsmanship and mass-production technology. However, the crucial step towards change came with the realization that contemporary objects can be a form of expression, with as many stylistic interpretations as there are languages in the world. And so, Piero Gandini called upon the most promising talents in international design: from the “futuristic” style of Australian Marc Newson (with his Helice Lamp in 1993) to the English prophet of minimalist design Jasper Morrison, to Konstantin Grcic, the most refined and eclectic German designer.

Buxmed Bishops Avenue Properties with Porada

An award-winning collection of three penthouses, six duplexes and eleven lateral apartments set in a 2.5-acre site with private landscaped gardens and outstanding facilities including an indoor 25m pool, spa, cinema and more.

With the support of his sons, who became promoters, as well as him, of a Company that makes quality and professionalism its own bases. Excellent quality and considerable experience in the wood manufacturing shortly gave the Company a solid and well-defined identity, which nowadays express itself in refined products that contribute to design a domestic environment, where the everyday living needs are met.

Porada’s collection is wide and varied, made up of a multitude of occasional furniture developed in cooperation with designers as Tarcisio Colzani, Patrick Joiun, Carlo Ballabio, Marconato e Zappa, Opera Design, Studio Buratti, David Dolcini, Stefano Bigi, Gino Carollo and Emmanuel Gallina among others.

Baccarat Paris Private Residences

 Baccarat has graced its presence in some unique, luxurious projects. From hospitality projects to private residences, the French brand adds that Luxurious touch to any project. Transforming matter into an object of desire has been the calling and talent of Baccarat artisans for over 250 years, targeting perfection.

It takes 15 years to master the techniques, tap the infinite possibilities for sculpting crystal. Baccarat boasts the highest number of award-winning Best Craftsmen in France, more than any other French luxury House.

BACCARAT LA MAISON collection is a natural extension of the Baccarat universe and offers statement furniture and home accessories with a timeless style, at the highest standards of the art of living industry. From stylish living rooms to chic dining and bedroom collections, BACCARAT LA MAISON offers a range of products unrivalled in the furniture industry.

Roberto Cavalli in I Love Florence Tower in Dubai

A new luxury tower in Dubai named “I Love Florence” will be the first in the world to carry the “Roberto Cavalli” brand, bringing the glitz and glamour of runway to private homes. For the first time, Roberto Cavalli designs the interiors of an iconic residential tower with a range of exquisite home accessories and ornate fittings from Cavalli interiors.

The rich interiors of Roberto Cavalli will project bespoke living spaces adding depth, character and style. They will be an embodiment of all the strength and glamour of the Maison ‘Roberto Cavalli lifestyle‘,  delivering energy, prestige, emotion, success, and desire to experience.”

He added: “We are excited to work on this project that combines the sophistication of fascinating Florence with the famed luxury of dazzling Dubai. The interiors of the lavish 34-storey waterfront skyscraper, located in one of the world’s greatest urban transformations, will offer its residents a refined living experience that also echoes the romantic vibes of the rustic streets of Florence.”

Architect Sofia de Backer’s House with Antonio Lupi

Upon entering, it is immediately noticeable: Sofie likes beautiful and practical. “A house serves primarily to live in. It must be functional and practical. ”So there was a double door at the front: one for the office and one for the living area. The architectural design of the house is also simple and efficient: a fairly tight floor plan with two beams one above the other, with the top one slightly slid over the edge, to form a roof over the terrace.

At the rear, above the covered terrace, is the night area of the couple. The bedroom and bathroom are in one large room, which creates a suite feeling. The Porro wardrobe in the middle serves as a partition and headboard for the black lacquered bed with canopy from MDF Italia. The bathroom area is also protected with a wall of smoked glass.

You may also like: A discovery of both Milan and Leonardo Da Vinci’s Work & History

Bath ‘Baia’ and washbasin ‘Tender’ by Carlo Colombo for Antoniolupi, tap work from Vola. Here they are economical with faucets: the one against the rear wall serves for both the shower and the large bathtub.

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from Sebastian Kurz Blog https://www.designbuildideas.eu/inspire-best-luxury-interior-design-projects/

[crushandhurry]

Italiani brava gente...

Franco Perniciaro: niente ha rimarcato ca ten e corn!!!!!!! Patti Scanu: TROIETTA Marco Sparkydoc: Francesconi se fosse stato un bianco ,sarebbe stato un sessista..............anomalie comuniste. Maria Molteni: Questa È L ITALIA ALLA SG LE HANNO DATO CERVELLINA DA MANGIARE Gianni Raimondi: Mentecatta Michele Debora: E normale che lo difende. Le piace la banana nera..quella più matura Emilio Pizzoni: Andate affanculo puzzolenti! Andrea Luigi Breccolenti: è una povera demente... Stefano Covarelli: quando vede la minkia nera cambia subito idea... Antimo Vigliotti: Mettiti un palo in c...o merda di essere!!!!!!! Pietro Ferraro: Sei solo. Una. Zoccola. Da strapazzo . Lollo Rossi: Puttana ipocrita Paolo Pepoli: pensa che du teste di cazzo , bicolore Gianni Spinelli: Zcyclon b...... Stefano Ferraro: A dire zoccolo e poco e molto di piu questa e l'italiana giornalista vergognati. Giacomo Contento: Sta b...... Daniela Libralon: Sei una gran troia Annamaria Avallone: Noo nonsenepuopiu.... Bastaaaa... Una bella infornata e il gioco è fatto così si toglie dalle palle una volta per tutte. Paolo Caserini: Ma ANDATE tutti e 2 a prenderlo in CULO!!!!!! Simone Oreto: Forse le piace il cazzo in bocca Giovanni Napolitano: è solo una troia di merda pankabestie che vuole essere rotta in culo dal nero di merda!!!! Luigi Annibale Vergogna piccola troietta Giampaolo Barrili: Forse le piace provare il pene nero, buon pro le faccia. Ma lui è meglio che vada via dall'Italia. Alexander Alcedo: GENTE DA MANDARE AD AUSCHWITZ Fernando Antonio Fortunato: AmmazzaTelo quel coglione Gaetano Maccuro: Io ti inculo e ti metto fuoco...nero..vediamo è uguale... Mario Sepe:  Di TR..e c'è ne al mondo ma una come te deve ancora nascere. Vincenzo Bancone: Mettiglielo nel culo a quella troia comunista seminatrice d'odio. Riserva un pezzo per il culatone Santoro. Mario Petragallo: Solo le teste de cazzo fanno coppia Christian Vodola: Andasse a fare le faccende domestiche, se le chiedi pasta asciutta ti presenta il ketchup sui rigatoni Rodrigo Furio Failli: Che vuoi ... dopo i Rom vuole lo scarafaggio, sta cagna Claudio Benito: Brutta celebrolesa. Marco Maya: Sei una lurida merda Angelo Neri: Stanno bene insieme hanno gli stessi valori e la stessa testa di cazzo Salvatore Cammarata: Si vede che a lei piace molto quel tipo di rapporto xche non accontentarla??? Pierluigi Pinato: Ma il coglione negro et ancora in circolazione Maru Benghaza: Secondo me se l'è pure scopata Maurizio Gennaro: secondo mee e gia pure incinta dalla bocca..... bello merda la vra scopata in bocca Benny Blanco: Robe da non credere, questo è cadere in basso Luca Giubbolini: Farei con entrambi del comodissimo pellet per stufa Natale Baldini: merda su merda. Andrea Parravicini: Che ne sapete. Magari è quello che cerca Sarina Sole: ma chi è sta depravata? quella che faceva la passeina canterina intelluaoide da Santoro? Marco Scravaglieri: La coerenza di sinistra Antonio Buono: Mi fanno schifo anche da lontano !! Rorita Zanetti: Poverina fatti vedere Danilo Russo:Fanno schifo tutti e due Cantile Giovanni: È la donna più troia e schifosa al mondo! Nonno Anto: Mandatelo al suo paese Antonio Franzone: Molto strana la signorina si indigna per le violenze sulle donne e difende questo animale a prescindere dal colore della pelle che vorrebbe fare i porno con le donne bianche!!Signorina giornalista VERGOGNA Maurizio Trive: vergogna in africa subito. Luca Muzzioli: Femminista e di sinistra..... Mamma mia che schifezza... Ignazio Angileri: Suicidatevi Pietro La Marca: Troia Ruggiero Loffredo: Ti linceremo. O ti faremo fuori . Salvatore Capoccia: Una troia come te non avrebbe il diritto di restare in questa nazione Marco Lubelli: Negro di merda 💩 Attilio De Moliner: dopo (sperando di no) viene violentata ne riparliamo Mariangela Rava: Speriamo di si ....Almeno l'amichetto avrebbe la figa bianca Tutti contenti .... Edoardo Gonni: Troia Nunzio Pinzone: Ma se ne vadano a fanculo sta vacca e quel pezzo di merda. Francesco Secchi: questa e'con un'altro cervello in pensione... mi fa pena

[claudioghera]

Facebook post (2020-06-27T14:22:11.000Z)

Se fossero stati tutti nostri parenti o amici?👿 Le vittime L’elenco dei 77 passeggeri del volo Itavia IH-870 e dei quattro membri dell’equipaggio, tra parentesi la loro età: Andres Cinzia (24), Andres Luigi (32), Baiamonte Francesco (55), Bonati Paolo (16), Bonfietti Alberto (37), Bosco Alberto (41), Calderone Maria Vincenza (58), Cammarata Giuseppe (19), Campanini Arnaldo (45), Casdia Antonio (32), Cappellini Antonella (57) anni, Cerami Giovanni (34), Croce Maria Grazia (40), D’Alfonso Francesca (7), D’Alfonso Salvatore (39), D’Alfonso Sebastiano (4), Davì Michele (45), De Cicco Giuseppe Calogero (28), De Dominicis Rosa (Allieva Assistente di volo Itavia) (21), De Lisi Elvira (37), Di Natale Francesco (2), Diodato Antonella (7), Diodato Giuseppe (1), Diodato Vincenzo (10), Filippi Giacomo (47), Fontana Enzo (Copilota Itavia) (32), Fontana Vito (25), Fullone Carmela (17), Fullone Rosario (49), Gallo Vito (25), Gatti Domenico (Comandante Pilota Itavia) (44), Gherardi Guelfo (59), Greco Antonino (23), Gruber Berta (55), Guarano Andrea (37), Guardì Vincenzo (26), Guerino Giacomo (19), Guerra Graziella (27), Guzzo Rita (30), Lachina Giuseppe (58), La Rocca Gaetano (39), Licata Paolo (71), Liotta Maria Rosaria (24), Lupo Francesca (17), Lupo Giovanna (32), Manitta Giuseppe (54), Marchese Claudio (23), Marfisi Daniela (10), Marfisi Tiziana (5), Mazzel Rita Giovanna (37), Mazzel Erta Dora Erica (48), Mignani Maria Assunta (30), Molteni Annino (59), Morici Paolo (Assistente di volo Itavia) (39), Norrito Guglielmo (37), Ongari Lorenzo (23), Papi Paola (39), Parisi Alessandra (5), Parrinello Carlo (43), Parrinello Francesca (49), Pelliccioni Anna Paola (44), Pinocchio Antonella (23), Pinocchio Giovanni (13), Prestileo Gaetano (36), Riina Andrea (24), Reina Giulia (51), Ronchini Costanzo (34), Siracusa Marianna (61), Speciale Maria Elena (55), Superchi Giuliana (11), Torres Pierantonio (32), Tripiciano Giulia Maria Concetta (45), Ugolini Pierpaolo (33), Valentini Daniela (29), Valenza Giuseppe (33), Venturi Massimo (31), Volanti Marco (26), Volpe Maria (48), Zanetti Alessandro (18), Zanetti Emanuele (39), Zanetti Nicola (6). L’Associazione dei parenti delle vittime della Strage di Ustica ha sede a Bologna, in Via Polese, 22 – Tel. 051/253925 fax 051/253725.

[unfoldingpavilion2018]

Unfolding Pavilion 2018

The Authors

The most unique members of the Little Italy network have been invited to take part in the 2018 iteration of the Unfolding Pavilion. They are Italian architects born in the 1980s, practicing also as academics, critics, artists, photographers, curators, editors or designers.  

                                                                            abacO is a Paris-based collaborative design studio established by Alice Braggion and Alessandro Carabini, working at the intersection of space, technologies and art.

ANALOGIQUE is an architectural practice founded in Sicily in 2015 by Claudia Cosentino, Dario Felice and Antonio Rizzo, working in the fields of architecture, landscape and urban design, furniture production and curatorial practice.

Arcipelago is a collective of islands scattered in the sea of architecture. A submarine volcanic eruption in the Adriatic Sea formed these six islands along the coast of Puglia in the spring of 2015. Since then, the plate movements on the lithosphere have caused the continuous migration of the islands throughout the Eurasian continent. These days, they are scattered all over Italy, Switzerland and Spain; some of them have just reached the Venetian lagoon to join the Unfolding Pavilion. These Islands are: Nicola Dario Baldassarre, Pasquale Cipri, Salvatore Dentamaro and Nicoletta Faccitondo.

atelier XYZ, based in Brescia and Porto, works and researches in architectural photography and architectural video. The atelier was founded in 2017 by Nicolò Galeazzi and Stefano Di Corato.

Babau Bureau is an architectural and landscape office founded in 2012 in Venice by Marco Ballarin, Stefano Tornieri and Massimo Triches. Babau Bureau’s current research focuses on the reuse and transformation of buildings and open spaces as a contemporary requirement and as a sustainable development strategy. Beside the professional career, the office keeps an active research in the academic field in the IUAV Venice.

Diego BEGNARDI graduated in Architecture at the Polytechnic of Milan. He worked mainly as an interior and furniture designer. From 2017 he follows set design courses to develop manual skills and craftsmanship, making creativity its main action field.

Giovanni BENEDETTI graduated in Architecture at the Polytechnic of Milan. He lives in Madrid, where he works and carries on personal researches about architecture. He writes and draws on his blog using the pseudonym of Muto.

Boano Prišmontas is a young London-based architectural firm, founded by Tomaso Boano and Jonas Prišmontas. They like to play, craft, design, make, doubt, investigate, and challenge themselves and the world. ​Boano Prišmontas took part in the London Festival of Architecture 2016 with an installation called Minima Moralia; Milan Design Week 2017 with Quiubox and Dubai Design Week with Aidah.

Bunker is a design and research studio led by Carlo Gandolfi and Roberto Molteni, operating between Milan, Venice, Lisbon, and Sao Paulo. Bunker’s formation has a variable structure, availing itself through the years of internal and external collaborations, realizing designs, winning contests, and gaining acknowledgements both in Italy and abroad. Bunker has been involved in important urban regeneration projects such as the center of artistic and cultural production "mare culturale urbano" in Milan.

Campomarzio is an architectural collective practice which merges practical and theoretical expertise within the fields of architecture, urbanism, research, and visual communication. Founded in Trento in 2012, Campomarzio is run by six partners: Pietro V. Ambrosini, Michele Andreatta, Alessandro Busana, Daniele Cappelletti, Enrico Lunelli and Teresa Pedretti. The plurality of its founders and their different international academic and professional experiences allow Campomarzio to develop a careful and meticulous design and research activity, with the aim to combine theory and practice.

Fabio CAPPELLO is M.Arch (DiARC - University of Study of Naples ‘Federico II’), assistant at DiARC and at the international seminar Villard de Honnecourt. Cappello is a licensed architect, co-founder of PROFFERLO architettura, curator at SPONTANEOUS, editor of Chiasmo (leaflet about Neapolitan architecture) and architectural photographer. He collaborated with Domus, Temporary Office, Milan Arch Week and the Venice Architecture Biennale.

Michele D’ARIANO SIMIONATO has an MA in Architecture from the University of Ferrara and a Master in Spatial Design from ZHDK in Zurich. His work focuses on temporary architecture, urban regeneration and social practice.

Roberto DAMIANI has a PhD in Architecture and Urbanism from the Università di Pescara and is currently serving as a Postdoctoral Fellow at the John H. Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. He is the organizer and curator of Italy under Construction, a program of public lectures and exhibitions on contemporary architecture in Italy sponsored by the Italian Cultural Institute in Toronto. He is the editor of the forthcoming book The Architect and the Public: On George Baird’s Contribution to Architecture (Macerata: Quodlibet) supported by the Graham Foundation.

ECÒL is an architecture office and research platform founded in 2016 in Prato, Italy. Fading the line between architectural practice and theory, its work concentrates on developing multidisciplinary collaborations promoting an inclusive approach to architecture. ECÒL believes in the definition of pure geometry as an accomplished architectural gesture, an immediate spatial producer; looking for a new iconography rich of symbolism, ECÒL uses geometry as a tool to address intuitively human reactions and to trigger spontaneous social engagement.

ENTER Studio is an architectural cooperative practice based in Genoa, Italy, founded in 2017. Enter believes in schemes where interaction, intersection and negotiation become the foundation of a work model where the exchange of skills is the surplus value. Enter aims to apply a multidisciplinary approach that believes in the variety of scales and society interaction  as a key to interpret the role of the architect in contemporaneity.

False mirror office gathers five architects who have the Polytechnic School of Genoa as a common background. Believing that new only originates as a reaction to the existing, false mirror office re-discovers the past as the present, re-signifies high as mass culture, re-values forms and functions. As a matter of fact, false mirror office mis-represents Architecture.

Sara FAVARGIOTTI is Assistant Professor of Landscape Architecture at University of Trento as well as Research Affiliate at the Office for Urbanization, Harvard GSD. Graduated with distinction in 2009 (University of Genoa), she completed her PhD in 2014 (IUAV). Her research and teaching focus on landscape’s transformations and adaptation. She is specialized in landscape urbanism and ecological design focusing on emerging infrastructures and their influence on cities, landscapes and territories.

Rossella FERORELLI obtained a PhD at the Politecnico di Milano with Luca Molinari, with a thesis about the transformation of publicness in the built urban environment of the postdigital society. Since 2011, she is a founding member of SMALL - Soft Metropolitan Architecture & Landscape Lab, an architecture office and open platform based in Bari and Milan, investigating on the contemporary urban condition both through design and forms of parallel research, hybridizing the curatorial practice with independent publishing and academic experimentation.

Davide Tommaso FERRANDO is an architecture critic, editor, curator and educator based in Torino, Italy. M.Arch in Advanced Architectural Design at ETSA Madrid and Ph.D in Architecture and Building Design at Politecnico di Torino. He’s been adjunct professor at ETSA Madrid, Politecnico di Torino and Università di Ferrara, and an invited lecturer, among others, at ETSA Madrid, Politecnico di Milano and Innsbruck University. He is director of 011+ and editor of Viceversa. His texts are published in international magazines and collective books.

Figura/Sfondo is a creative workshop led by Michele Brusasca. Founded in Paris in 2010, it creates and develops poetic and ingenious objects using both traditional and new digital technologies.

Forestieri Pace Pezzani is an architecture firm based in Milan. The office was founded in 2013 by the architects Enrico Forestieri, Matteo Pace Sargenti and Pietro Pezzani. It deals with projects of different sizes, from private commissions for interiors to masterplan competitions.

gosplan believes in architecture as a mass medium. As such, architecture is a production of forms, a tale about space. gosplan was established in Genova in 2010 by Federico Bellegoni, Nicola Lunardi, Veronica Rusca and Lorenzo Trompetto.

LINEARAMA is an architectural studio and research lab established in Genoa in 2014 by Gabriele Molfetta and Selene Vacchelli.

Malapartecafé is a research project born in Genoa, Italy and currently led by Ilaria Caraffi and Emanuele Crovetto. They make drawings, satire, and stuff about architecture and contemporary culture.

Luigi MANDRACCIO is an architect and a Ph.D. candidate at dAD, Polytechnic School of Genoa and his research is focused on scientific mega-structures. He is part of the editorial board of the international books series Burrasca that he founded in 2013. He co–curated the 2015 and 2016 edition of the symposium “Clip Stamp Upload” about independent publishers on Architecture. Besides publishing some articles and essay, he co-edited: CSU Editoria indipendente di architettura nei seminari Clip Stamp Upload, and Temporary Office. First act. Il Mercato del Pesce di Genova (2017, Sagep).

oblò - officina di architettura is an architecture practice based in Milan and Paris, led by Francesca Coden and Emanuele Romani.

Giacomo PALA is an architect and researcher working and teaching at the Institute of Architectural Theory of the Faculty of Architecture in Innsbruck. He is conducting a PhD on Giovanni Battista Piranesi as a case study to develop a theoretical inquiry about the notions of contemporaneity, history, narrative and “parachronism” in architecture. He is co-directing the studio “ArchiFIcture” at the University of Innsbruck. SInce 2013 he is a member of Burrasca.

pia is an architectural practice based in Genoa, led by Alessandro Perotta and Valeria Iberto.

Gabriele PITACCO graduated cum laude, obtained a PhD and a master at the International School for Advanced Studies, won the Leonardo da Vinci grant, the Erasmus Young Entrepreneur grant and the DIANET postdoc grant. After working for OMA and OBR, Pitacco founded GPA in 2009; the firm designed the Eko Kampus masterplan in Saranda (Albania), the Hydrodinamic Museum in Trieste (Italy) and was selected (with Libeskind, Miralles-Tagliabue, LAND, Culd and Co+E) for the Kodrina maserplan in Pristina, Kosovo.

Gian Luca PORCILE received his PhD in Architecture from the University of Genoa in 2011. His main research interests are the influences of natural patterns on architectural theory and urban development. He is a founding member of the Multidisciplinary Research Group ‘ICAR65′. He teaches History of Architecture at the department of Architecture-Design (dAD) of the University of Genoa.

Giuseppe RESTA received his Ph.D. in Architecture from Politecnico di Bari/Università RomaTRE. He is co-founder of PROFFERLO architettura and curator at Antilia gallery. His research is focused on contemporary Mediterranean domestic space.

ROBOCOOP is an urban art duo composed by two architects, currently living between Rome and London. Working mainly in the urban context of the city, their aim is to document the architecture comparing it to the past, using different tools – as collages, installations, photographs, engravings, drawings etc -  with a provocative and reflexive approach.

Emilia ROSMINI PhD, architectural researcher and designer, teaching assistant in various courses of Urban and Architectural design, in recent years she attended international competitions, congresses, festivals and architectural events, receiving prizes and mentions. She carried out research at ETSA Seville in 2013 and at ETSA Madrid in 2017, focusing on the relationship between social inclusion, experimental housing and built heritage. Italian by birth, Spanish by adoption, she moves between Rome, Seville and Madrid.

Giorgia SCOGNAMIGLIO is an architect and urban designer from Rome, currently attending a MSc in Urban Regeneration at UCL in London. Her research mainly focuses on the themes of urban governance, community engagement and the design and management of public spaces. With an experience of professional consultancy and academic research and teaching at Sapienza University of Rome, she has collaborated as ideator and designer with different experts on regeneration projects. She is co-founder of Unsent Postcard.

Jörg STANZEL is an architecture student, designer and researcher living and practicing in Innsbruck. His current architectural research deals with the notions of real and fake as concepts influencing the discipline of architecture (as a practice, object or ideal). He has held workshops and seminars at the faculty of architecture of Innsbruck and he is part of the Institute of Urban Design’s team at the same university.

Caterina STEINER has an MA in Architecture, from the University of Firenze. She has taught at UNITEC in Auckland, SDU in China and worked as an architect in Basel, Zurich and Milan.

STUDIO associates is the architectural practice of Marco Formenti, Nicolò Galeazzi and Martina Salvaneschi. It is an abstract and anonymous container, which by its nature, refuses a precise definition and adjectivization. It does not focus only on the final result, the product, but rather on the process that lead to that result. Thus, nothing is static and definite. Everything is constantly evolving...

StudioERRANTE Architetture is a Turin based office founded by Sarah Becchio and Paolo Borghino. Errante Architetture is particularly interested in the narrative and poetic side of the project through the use of simple construction methods, raw materials and naked details. The only way Errante Architetture knows to pursue the project is making models and drawings.

Studiospazio is the architectural practice established in 2014 by Samuele Squassabia, Tao Baerlocher and Eugenio Squassabia in Zurich (CH) and Mantova (IT). Studiospazio deals with the question of the relationship between architecture and the contemporary reality through projects, competitions, publications and the academic commitment.

TCA THINK TANK is a platform based in Singapore. Led by Pier Alessio Rizzardi, TCA is practicing architecture, urbanism and cultural analysis. TCA’s works include a variety of projects from city scale level, portable and temporary design, to printed publications. Working with architects, artist, publishers, and universities, TCA escapes from the constraint of the division between research and practice, to explore the multidisciplinary possibilities of architecture. TCA reports the Theoretical Condition of the Architecture.

Davide TRABUCCO is an artist and architecture student from Bologna, Italy. In 2012 he won a place in the residence program of Fondazione Collegio Artistico Venturoli di Bologna. He is the author of the ongoing visual project Confórmi (le forme non appartengono a nessuno).

UNO8A is an architecture team founded in Genoa in 2014 by Beatrice Moretti and Fabrizio Polimone. Since 2018, UNO8A is part of casana, a collective of architects based in Genoa. 

Riccardo M. VILLA is Assistant Researcher at the TU Wien and a member of GIZMO. His latest work, Backstage: l’architettura come lavoro concreto (Hoepli, 2016) deals with the state of the practice and the conditions of labor in contemporary architecture.

WAR (Warehouse of Architecture and Research) was founded in Rome in 2013. Its essence lies between the concept of a mannerist architecture studio and an independent space for research in the contemporary practice. The studio is led by Gabriele Corbo, Jacopo Costanzo, Valeria Guerrisi.

Emiliano ZANDRI is an architect based in Rome and is teaching assistant in Urban and Architectural design at the Sapienza University of Rome. In 2016 he co-founded ZA², a brotherhood photographic project. As architect, he took part in several international competitions, workshops and architectural exhibitions.

Lorenzo ZANDRI is an architect-photographer-artist, currently living between Rome, Paris and London. His visual research has the aim to document the built environment and urban transformations, using photography as the main tool to represent the surrounding landscape. He is co-founder of ROBOCOOP, ZA² and Unsent Postcard.

ZarCola Architetti is a Milanese architectural practice founded by Edoardo Giancola and Federico Zarattini.

                                                                            Illustrations: 1. Gabriele Basilico, Pupils playing in the courtyard of Aldo Rossi’s school in Fagnano Olona. Source: Gianni Braghieri, “Aldo Rossi: Works and Projects” (Barcelona: Gustavo Gili, 1991).

[cinquecolonnemagazine]

I luoghi del progetto

Il Circuito Lombardo Musei Design propone negli spazi di Triennale Milano, dal 4 al 6 giugno 2021, una maratona di eventi dal titolo “I luoghi del progetto. Tre giorni di incontri in Triennale: racconti, proiezioni e una mostra” a cura di Claudio Palvarini e Lodovico Gualzetti. L’articolato evento, organizzato da CS&L Consorzio Sociale in collaborazione con Magutdesign, il sostegno di Regione Lombardia, il contributo di Fondazione Cariplo e l’ospitalità di Triennale Milano, coinvolge le ventisette realtà tra musei, archivi e studi-museo del design del Circuito Lombardo Musei Design, che rappresentano l’eccellenza nell’ambito del disegno industriale e che da due anni fanno parte di un network molto attivo. I protagonisti di questa grande rete sono gli archivi-museo dei più importanti designer lombardi: Cesare Cattaneo, Origoni Steiner, Osvaldo Borsani, Piero Bottoni, Giovanni Sacchi, Gae Aulenti, Joe Colombo, Pierluigi Ghianda, l’Archivio storico SDF – Museo SAME e Fondazione ISEC, ma anche le associazioni Giancarlo Iliprandi, Longaretti e AIAP – Associazione italiana design della comunicazione visiva, le fondazioni Achille Castiglioni, Franco Albini, Studio museo Vico Magistretti, Jacqueline Vodoz e Bruno Danese oltre a piccoli e grandi musei, MAC – Museo d’arte Contemporanea di Lissone, Museo della Macchina per Cucire, Museo della macchina da scrivere, Molteni Museum, MUMAC – Museo della Macchina per Caffè di Gruppo Cimbali, Museo Fratelli Cozzi, Museo Fisogni delle stazioni di servizio, Kartell Museo e Officina Rancilio 1926. I loro suggestivi ambienti e gli oggetti custoditi sono descritti nella mostra “Un viaggio nel paese del design”, allestita nell’impluvium al primo piano di Triennale Milano, tramite 18 metri  di immagini, foto e testi che approfondiscono ciascuna realtà, creando connessioni con il territorio e con i luoghi della cultura presenti in esso. Ognuno con proprie caratteristiche e particolarità questi differenti musei ed archivi mantengono vivo un enorme patrimonio di altissima qualità e di importanza internazionale. L’Archivio Cattaneo di Cernobbio, ad esempio, promuove e organizza da 20 anni iniziative culturali attorno alla figura di Cesare Cattaneo incentrate sull’architettura moderna e contemporanea; l’Archivio Piero Bottoni, a Milano, conserva oltre 90.000 unità documentarie e dal 1983 è una delle più importanti raccolte del Politecnico di Milano; e ancora il Museo Fisogni di Tradate, che mostra la curiosa evoluzione tecnologica connessa ai progetti dei distributori di carburanti, dal 1892 fino ad oggi.  Tra i numerosi appuntamenti, che punteggiano questa ricca tre giorni, il ciclo “Oggetti unici” vede l’alternarsi degli interventi di 15 curatori delle realtà aderenti al Circuito, che oltre a presentare la realtà cui sono legati, mostrano e illustrano un bozzetto, un modello, un prototipo o un oggetto di particolare interesse o rilievo. Fra questi l’originale set di posate studiate per l’utilizzo in aereo dell’Archivio Joe Colombo, la Williams Curved 1 del Museo della Macchina da Scrivere, che importata in Italia da Camillo Olivetti fu il pretesto della nascita dell’omonima società, il prototipo degli anni '60 di una macchina per caffè ad uso domestico ideato da Achille Castiglioni per La Cimbali, e dal museo SAME il modellino del trattorino Universale 10 HP del 1948, che rappresentò un gioiello dell’industria italiana.Negli incontri “Raccontare e raccontarsi, gli archivi narrati in un dialogo tra giovani autori e i curatori” si ha invece la possibilità di approfondire ulteriormente la conoscenza di 11 archivi-museo, attraverso i testi narrativi di giovani autori, che hanno conosciuto la vita di questi luoghi a seguito di un bando di residenza. Con questi testi, letti da due attori - Paola Albini e Antonio Ballardini - durante gli incontri, interagiranno i curatori, che presenteranno il proprio archivio e un “oggetto unico”. I testi sono raccolti in un volume che sarà disponibile nel corso dell’evento. Gli spazi dell’Agorà, oltre ai talk, ospitano le due serate di “Design in video”, con importanti e curiose proiezioni storiche, interviste, video aziendali e pubblicità.  Appuntamento conclusivo del vivace weekend culturale è la presentazione del volume “Vogliamo ricostruire l’Italia”, realizzato ad aprile 2020 per il 75° anniversario della Liberazione, a cura dell’Archivio Giovanni Sacchi nella figura di Lodovico Gualzetti: una raccolta di poster ideati da giovani creativi in omaggio ai designer, ai grafici e agli architetti che hanno militato nella Resistenza e hanno subito persecuzioni. Read the full article

[estudiodedecoracion]

Paola Navone

Paola Navone. Arquitecta, diseñadora y consultora.

Paola Navone (1950, Turín, Italia) es arquitecta, licenciada en 1973 en el Politecnico de Turín.

Nacida en Turín, después de sus primeros años de actividad se trasladó a Milán, sin embargo ha dedicado una gran parte de su carrera a viajar e impregnarse de diferentes culturas.

Es ante todo una ciudadana del mundo gracias a su enorme interés por las culturas más diversas, especialmente las orientales (ha vivido durante muchos años en Hong Kong).

En los años 80 Paola Navone fue muy activa en los movimientos de diseño de vanguardia como Alchimia y Memphis, y es la excepción en la élite del diseño italiano, dominada los últimos 30 años solamente por hombres.

Entre 1970 y 1980 trabajó junto a Alessandro Mendini; Ettore Sottsass Jr. y Andrea Branzi en el grupo Alchimia, el conjunto más progresista de la escena del diseño italiano, desarrollando una posición de vanguardia altamente productiva y estimulante que le valió, en 1983, el prestigioso Osaka International Design Award (otorgado por primera vez ese año).

Paola Navone tiene un talento particular para re-descubrir el diseño del pasado y traerlo a la vida con nuevas formas contemporáneas. Este proceso siempre se basa en gran medida en la artesanía tradicional, y ha demostrado ser muy exitoso.

Navone, en su tarea como diseñadora y consultora de fabricantes de muebles y materiales, siempre intenta combinar el diseño moderno con la artesanía tradicional, esforzándose en crear híbridos de diseño con artesanía, lo que añade mayor valor al diseño que produce.

Paola Navone no quiere definirse dentro de un nicho o estilo particular. Ella está interesada en lo único, lo inusual, lo que no es banal, y siempre se esfuerza por desarrollarlo y procesarlo a su manera.

Le gusta trabajar con los colores y la luz, que proporcionan calidez y despiertan recuerdos de experiencias anteriores.

Su intuición y su talento para adelantarse a lo que va a ser tendencia es de sobra conocido en el mundo del diseño, siendo una de las primeras en crear grandes muebles para el salón, o fue también pionera en poner de moda el estilo “chic-shabby-chic”. 

Por ejemplo, su primera serie de muebles para Gervasoni, que salió al mercado en 1997 y se llamó Otto, no se vendió nada bien durante los primeros seis meses, cuando ahora ésta colección genera un tercio de los beneficios de la empresa en el volumen total de negocio.

Inquieta, soñadora, ecléctica, en su larga y multifacética carrera se ha movido fácilmente entre los papeles de arquitecta, diseñadora, directora  de arte, diseñadora de interiores, crítica, profesora y organizadora de exposiciones y eventos.

Estas labores las ha realizado de manera independientemente, o para clientes tan selectos como : Abet Laminati; Armani Casa; Knoll Internacional; Alessi; Piazza Sempione; Mondo; Driade; Orizzonti; Arcade; Oltrefrontiera; Casamilano; Antonangeli; Dada; Molteni; Natuzzi; Roche Bobois; Swarovski….. y muchos más.

Paola Navone (pág. web).

Paola Navone y sofá “Nuvola” para Gervasoni.

AllABCDEFGHIJKLMNOPQRSTUVWXYZ

A

Alessandro Mendini

Alfredo Häberli

Alvar Aalto

Andrea Branzi

Andrée Putman

Andreu Carulla

Andy Martin

Antonio Citterio

Arend Groosman

Arik Levy

Arne Jacobsen

Autoban

B

BarberOsgerby

Benjamin Graindorge

Benjamin Hubert

Bertjan Pot

Boca do Lobo

C

Carlo Mollino

Charles Rennie Mackintosh

Charles y Ray Eames

Claudio Colucci

D

David Adjaye

DimoreStudio

Doshi Levien

E

Edward van Vliet

Eero Saarinen

Enzo Mari

Ettore Sottsass

F

Fabio Novembre

Fernando Mastrangelo

Filippo Mambretti

Finn Juhl

Francesco Rota

Frank Gehry

Frank Lloyd Wright

Fredrikson Stallard

G

Gabriella Crespi

Gae Aulenti

Gaetano Pesce

George Nelson

Gerrit Rietveld

Goula Figuera

H

Hella Jongerius

Hermanos Campana

Hervé Van der Straeten

I

India Mahdavi

Inga Sempé

J

Jaime Hayón

Jasper Morrison

Jean Prouvé

Joaquim Tenreiro

Joe Colombo

Jonathan Adler

Jörg Schellmann

Jurgen Bey

K

Karim Rashid

Kelly Wearstler

L

Lex Pott

Lievore Altherr

Lucas Muñoz Muñoz

Ludovica y Roberto Palomba

M

Marc Newson

Marcel Breuer

Max Lamb

Michael Anastassiades.

Mies van Der Rohe

N

Naoto Fukasawa

Nendo

Nigel Coates

O

Olivier Mourgue

P

Paola Navone

Paolo Lomazzi

Patricia Urquiola

Pierre Paulin

Piet Hein Eek

Q

Quentin de Coster

R

Richard Hutten

Richard Sapper

Rick Owens

Rodolfo Dordoni

Ron Arad

S

Sacha Lakic

Scholten & Baijings

Seung-Yong Song

Simone Simonelli

Studio Job

T

Tapio Wirkkala

Tejo Remy

Thomas Sandell

Tokujin Yoshioka

Tom Dixon

Toni Grilo

U

Ueli y Susi Berger

V

Verner Panton

Vico Magistretti

Vincenzo de Cotiis

Vladimir Kagan

Von Pelt

W

William Sawaya

X

Xavier Lust

Y

Yrjo Kukkapuro

Yves Béhar

Z

Zaha Hadid

Zanuso

from http://decorador.online/disenadores-destacados/paola-navone/

[goricaro]

Don Luigi Cazzaniga, artista ebanista que jerarquizó Salta

Por Lucía Solís Tolosa y Gregorio A. Caro Figueroa

Luigi Cazzaniga nació en Barlassina, que actualmente depende de la Provincia de Monza, Italia, el 4 de mayo de 1910, hijo de Carlo Cazzaniga y Felicita Molteni. Estudió en la Escuela de Disegno de Barlassina y obtuvo el título de Ebanista. En la vocación de Luigi influyó la larga tradición de maestros ebanistas de Barlassina, actividad ejercida y trasmitida por sus antepasados. Esto contribuyó a que Luigi abrazara esta profesión desde muy joven.  

Contrajo enlace con Adele Moltrasio el 14 de mayo de 1938, de cuyo matrimonio nacieron cuatro hijos: Carla, Beatriz y Ángela en Italia, y César Humberto en Salta, Argentina.

Formado en su pueblo en una escuela de ebanistas que hunde sus raíces en la Edad Media, Luigi ejerció en Italia su profesión realizando el tallado de muebles en distintos estilos; además, imágenes religiosas destinadas a santerías de su lugar natal y localidades vecinas.

El hecho de que Luigi Cazzaniga llegara a Buenos Aires a comienzos de 1949, lo sitúa formando parte de la última ola emigratoria de italianos en la Argentina, producida en la inmediata posguerra, entre 1947 y 1951. Los porcentajes del saldo inmigratorio italiano sobre el saldo inmigratorio extranjero total lo confirman: En el periodo 1921-1930: 42%; en el de 1941-1946 cayó al 7% y entre 1947 a 1951 se produjo una notable recuperación: 57%. Porcentaje que contrastará luego con el del periodo 1961-1970: -17,8%.

Según el historiador argentino Mario Nascimbene, “sus características fueron en ciertos aspectos, distintas de las anteriores”. Lo fueron porque entonces eran diferentes las aspiraciones laborales y económicas. En el caso de la Provincia de Salta, la llegada de Cazzaniga es casi simultánea al arribo de Juan Pablo Crivelli (1948), el primero de cinco hermanos que se radicaron en Salta y que, al igual que Cazzaniga, hicieron importantes aportes a la cultura local. Juan Pablo, en las artes gráficas y Benito, su hermano mayor, en la librería y la promoción de la plástica y la música.

“Cada migración lleva consigo inevitablemente dificultades, incomodidades y dolor, pero también activa necesariamente mecanismos de defensa y de protección que se traducen en verdaderas experiencias de solidaridad”, señala Ada Lonni en su libro editado en 1994, citado por la profesora Fulvia Lisi.

La emigración de una generación de artesanos se explica porque algunos antiguos oficios y la capacidad profesional de algunos de los mejores comenzaron a ser menos demandados en sus lugares de origen. Emigrar era una apuesta fuerte pero necesaria para abrir nuevos horizontes no sólo en Buenos Aires, principal centro de atracción, sino también en centros urbanos de algunas provincias con tradición cultural, como fue el caso de Salta.

Su llegada a Salta

La llegada de don Luigi a la Argentina se debió a una gestión de su tío Fray Francisco Molteni, de la congregación de los Hermanos Azules y fundador, junto con otros sacerdotes, del Colegio San Cayetano de Vaqueros, Salta. Fray Francisco se puso en contacto con los padres del Colegio Salesiano de Salta, y el director Emilio R. Norry le escribe una carta a Cazzaniga ofreciéndole el trabajo de maestro de talla en la carpintería del Colegio para que enseñe su oficio; lo invita a trasladarse a la Argentina y a Salta a fin de hacerse cargo de ese trabajo, según consta en carta de fecha 28 de julio 1947.

El 19 de noviembre de 1948, los directivos del Colegio Salesiano le envían un contrato de trabajo por tres años –que luego serían nueve-  firmado por el Reverendo Padre Salvador Benenati, que ese año asumió como director del Colegio, cargo que ejerció hasta 1953; por César Rodríguez Dondiz, que era secretario general, y por el agente consular de Italia, Víctor Antonelli.

Cazzaniga aceptó los términos de ese contrato de trabajo, adoptó decisiones familiares para los tres años que estaría en Salta y organizó su viaje. Resuelto estos temas, partió del puerto de Génova el 12 de febrero de 1949 rumbo a la Argentina. Tenía 38 años cuando desembarcó en el puerto de Buenos Aires, el 5 de marzo de ese año. De inmediato se siguió camino a Salta por tren, para hacerse cargo del taller de carpintería del Colegio Salesiano, teniendo a su cargo jóvenes que querían aprender el oficio.

El ofrecimiento de contrato se hizo el año en que el Colegio Salesiano “Ángel Zerda” de Salta incorporó la Universidad Salesiana del Trabajo, iniciativa que tenía como objetivo incluir a sectores sociales vulnerables al hábito y a la cultura del trabajo. Sin educación, y sin educación en el trabajo, no era posible romper el círculo vicioso de la pobreza. En el caso del Colegio Salesiano de Salta, sus escuelas profesionales constituyeron, “por su finalidad, una concepción sociológica muy avanzada: la formación del técnico medio, el maestro, el oficial”.

En las especialidades de Artes y Oficios del Colegio Salesiano de Salta, don Luigui Cazzaniga ocupó el lugar de un eximio maestro ebanista, trasmitiendo sus conocimientos, heredados de antiguos maestros medievales, formando y capacitando alumnos de esas escuelas. Cazzaniga jerarquizó el taller de carpintería que funcionaba allí desde 1912. Se podría decir, literalmente, que lo elevó a los altares: el altar mayor de la capilla “María Auxiliadora”, los de la Virgen del Perpetuo Socorro y la Virgen del Milagro.    

Decide quedarse en Salta

Cumplido poco más de un año de su experiencia en Salta, don Luigi decidió que su familia –su esposa y tres hijas- se trasladaran a Salta para radicarse aquí. Los Cazzaniga llegaron al puerto de Buenos Aires en barco el 26 de julio de 1950, y a Salta el 1 de agosto. Durante los primeros años, la familia residió en calle España 1040. Fue en esa casa, tres años después de instalarse allí, el 3 de julio de 1953 nació su único hijo varón, César Humberto.

Aquel hogar fue una comunidad de afecto, esfuerzo, trabajo y sensibilidad artística. En ella el trabajo artístico –la ebanistería paterna- se entrelazaba con el trabajo manual de la huerta casera dentro del terreno que rodeaba la vivienda, a pocos metros de la plaza principal de la Ciudad de Salta. Los Cazzaniga Molteni tuvieron una vida privada recogida, dedicada al trabajo y la educación de los hijos.

Después de trabajar varios años en el Colegio Salesiano, el maestro italiano se independizó y armó su taller de carpintería y talla en su domicilio de España 1040, teniendo como operarios a varios jóvenes a los que él había enseñado el oficio. Pocos años después de instalarse en Salta y trabajar aquí, con gran esfuerzo, Cazzaniga adquirió prestigio por sus obras, por su formalidad y su compromiso con “la ética del trabajo bien hecho”, para usar una expresión del escritor español Antonio Muñoz Molina. A su vocación y contracción al trabajo, añadió un talento artístico plasmado en una extensa obra que jerarquizó en Salta algunos de sus espacios públicos y privados.  

En su taller se realizaron muebles de distintos estilos y con creación propia tallados por él: camas, veladores, cómodas, bibliotecas, sillas, mesas, juegos de comedor, cuadros, marcos tallados, balcones y puertas. Las obras salidas de sus manos no se redujeron solo a las más importantes y costosas, demandadas por el sector social de mayor capacidad económica: también estaban destinadas a la clase media en ascenso.  

En Salta en aquella época era el único tallista en madera que realizaba sus trabajos a mano, con sus herramientas. Las familias importantes de Salta le encargaban sus obras: juegos de dormitorios, comedores. Entre ellas, se recuerdan algunos apellidos como ser Patrón Costa, Cornejo, Saravia, Caro, Paz Chaín, Durand, Di Pasquo, Di Lella, Francesco Pagliaro, Solá, Lisi, Preti, Barrantes, Del Pin, Binda, Lecuona de Prat y Gómez Naar, entre otros.

Al terminar cada una de sus obras, éstas eran fotografiadas, tarea que confío a don Miguel Llaó, uno de los mejores fotógrafos artísticos de Salta de la segunda mitad del siglo XX. La colección de esas fotos de Llaó y los bocetos a lápiz son la base para elaborar un catálogo que incluya parte de la vasta producción de Cazzaniga.

Cazzaniga también trabajó en la restauración de muebles antiguos en poder de antiguas familias de Salta, mobiliario de finales del siglo XVIII y del XIX, heredados de sus antepasados.

Algunas de sus obras importantes

Entre los trabajos que realizó merecen un registro particular los de carácter religioso:

- La ya mencionada base de la imagen de Virgen del Milagro que se conserva en la Catedral Basílica de Salta. Esta obra tenía sus respectivas jardineras en madera que, luego, se hicieron en plata con la base que talló don Luigi. Desde 1692 el más importante y masivo culto religioso es el consagrado a la Virgen y al Señor del Milagro.  

- El marco tallado para la imagen del Niño de Aracoeli que fue encargado por el coronel Di Pasquo para la Iglesia San Francisco. En la actualidad el cuadro se encuentra en la biblioteca del dicho convento.

- El marco de la Virgen del Perpetuo Socorro de la Iglesia de San Alfonso, y también el cuadro que está al lado del altar de la Virgen donde están los recuerdos de las gracias que la gente recibe.

- También diseñó y talló el altar mayor de la Virgen María Auxiliadora de la capilla del Colegio Salesiano, colocada allí en el año 1954. Restauró y realizó sagrarios y otros trabajos en iglesias del interior de la Provincia. Pocos saben que es obra de Luigi Cazzaniga el catafalco de monseñor Roberto J. Tavella, sacerdote salesiano y primer arzobispo de Salta entre 1935 y 1963.  

Artífice de los balcones de Salta

Un elemento que manifiesta la importancia de la obra de Luigi, lo constituyen sus balcones tallados. Podemos decir que Cazzaniga es el artífice de los balcones de Salta. Lo es dos de los significados de la palabra artífice: el que alude al artista que hace un trabajo delicado con sus manos, y al designa a la persona que realiza o ejecuta una obra.

Es pertinente señalar que un considerable número de soberbios balcones que integran la obra del arquitecto Lecuona de Prat, quien durante casi cuatro décadas construyó edificios de un estilo que se ha dado en llamar californiano-mallorquino. Nacido en 1911 en La Laguna (Santa Cruz de Tenerife, Islas Canarias), Lecuona de Prat llegó a Salta en 1933 y traía bajo el brazo su título de Aparejador, profesión que hoy equivale a de Arquitecto Técnico.

En los años ’90 del siglo XX, el Colegio Oficial de Aparejadores y Arquitectos Técnicos de Santa Cruz de Tenerife publicó “El balcón que llegó de las Islas”, obra dedicada a la vida y obra de Lecuona de Prat. Fue él quien, quizás siguiendo las líneas trazadas en 1938 por el arquitecto, ingeniero y urbanista Ángel Guido en su “Plan Regulador de Salta”, dotó a esta ciudad de un carácter neo colonial, ciertamente característico.

Los balcones, puertas, ventanas, dinteles y escaleras de Cazzaniga complementaron gran parte de los proyectos arquitectónicos de Lecuona y los realzaron. No hay que olvidar que esos balcones inspirados en los de Canarias y éstos en los moriscos, y también en los de Lima, son obra del maestro ebanista: son la conjunción del trabajo de un español de Canarias y un italiano.  En parte por mezquindades y envidias y, en parte, por la modestia de Cazzaniga, su destacado aporte no recibió todavía el reconocimiento que merece.

Los balcones más importantes

Entre las más destacadas obras del maestro ebanista integradas a arquitectura, se pueden mencionar:

- El imponente balcón en la fachada del Club 20 de febrero, entidad que reúne a familias tradicionales y segundo de ese tipo más antiguo de la Argentina. La sede de este club, ubicada en el Paseo Güemes próxima al Monumento al General Güemes, es un edificio construido en 1948, que fue propiedad de Carlos Durand. Obra de Cazzaniga son también mesas y sillas del ese club.

- El balcón de la casa de la familia Bellini, en avenida San Martín al 400 frente a Plaza Francia.

- El extenso balcón, sumado a las puertas y escalera interior, de la casa de avenida Belgrano 1100, construida para la familia de Fernando Lecuona de Prat.

- El marco y la puerta de la casa de la familia Cornejo en avenida Belgrano al 600, entre 20 de Febrero y Balcarce, hoy propiedad de don Luis Uriburu Castellanos. Es una de las obras más importantes, en la que respeta y recrea el estilo de columnas y puertas de Salta del siglo XVIII.

Talento artístico en las manos

Los altares, sagrarios, marcos de imágenes y otras producciones religiosas, revelan no solo la maestría sino también el refinado y delicado gusto clásico, de indudable ADN italiano, de Cazzaniga. Revelan también la serenidad espiritual y la sensibilidad religiosa de este artesano-artista que dejó una estimada huella en la cultura material de Salta.

Clientes y amigos recuerdan su honestidad, su trato formal y amable; fue una persona respetada y apreciada en un medio que no hacía concesiones al respecto. Don Luigi se concentró en su trabajo. En cada una de sus obras cuidó el detalle, buscó la perfección, combinando viejas y nuevas técnicas, antiguos y nuevos estilos.

Luigi, como lo llamaban cariñosamente las personas que lo conocieron, falleció a los 59 años luego de una larga dolencia, el 21 de abril de 1970. Por sus manos derramó su talento artístico. A su familia y a su arte consagró su vida este hijo de Italia que salió de Barlassina para radicarse en Salta, morir aquí y perdurar también aquí en la madera, materia prima de su extensa e importante obra.-

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