In the center of Milan, a few steps from the historic “Basilica di Sant'Ambrogio”, the city’s Patron, there is the '50s palace where, at the fourth floor, Marco Piva lives.
A large five rooms for a total of 150 square meters on one level, symmetrically divided in two by the classic central hallway, typical of the construction of that period.
The will of the architect was to leave unchanged the original plant of the house.
Even the floors of the living room are the original ones : an important Palladian of the ‘50s for the living room, a black grit for the central corridor , and another yellow grit in the dining and kitchen areas.
The research, from a design point of view, describe the quality of living through the furniture, from the most prestigious Italian companies.
Many, many objects narrow, instead, about the Travel , a theme particularly dear to Marco Piva, who considers himself a traveler even before than a designer: from the Buddha protector of fertility, which dominates in the central living area, that was given to his wife on the occasion of pregnancy, to a Moroccan lantern bought in an antique shop in Fez , until a Japanese kimono in the dining room and some Mexican statues and Thai objects that overhang the library.
Each object in the house has its own history, and this history is often thousands of miles away. Or just a few meters , such as lamps and mirrors made by hand I in the ‘50s in the galvanic of his wife's family.
From the colors point of view, the overall interior is light, with neutral walls and furniture that range from white to gray, leaving up to the objects and furnishing details to determine the contrasts.
A particular dominant is the red, in the bathrooms and in the jambs of the great portals of the living room and dining room, recalling the Japanese red lacquer .
Japan is a country particularly dear to the couple, the portals themselves were carried out using as sample a color of a Japanese bowl purchased during a trip.
A house soberly elegant , rich in history but not intrusive, where the best design becomes a scenic tool for these objects, full of emotion and travel’s memories.
The harmonious dialogue between these objects acts as a filter and connection with Marco Piva’s world: the place from which to begin, and where to return .
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