The architect, who recently completed New National Archives of France in Pierrefitte sur Seine, presents collaborations with Fiam, Zonca and Baxter.
The wall mirrors “Rosy” and “Lucy” for Fiam are designed as single pieces made entirely of glass. The former called “Rosy” is a single rotund body with rounded frame, resembling an eclipse of the moon, or perhaps a pool set in a lunar landscape. Its companion, “Lucy”, is a sculpture, at its core an elliptical reflective surface, set in a rounded frame shaped like three large, irregular petals. Both frames, in silvered glass, have sensual, feminine lines. Each of these mirrors add character to a design scheme, each one a piece in a jigsaw puzzle or a map waiting to be put together. Mirrors to be looked in at oneself, for pure vanity, or in search of something only legible when reflected in them.
The series of lamps “Candy Collection” designed for Zonca starts from a geometrical design, a jewel box composed of twelve pentagonal faces that make up the structure of each lamp. Following a game of full and empty, it passes from a lamp body designed as a framework, where the structure is exposed, to a coating of micro-faces with a reason. The idea is to play with each lamp to create a unique setting whether they are floor lamps, suspended or used as furnishing. It can give rise to an installation, a sculpture, a light path through this series of coloured lamps designed to be joined together, overlapping, set between them to create an always original lamp. The series is completed with a variant for directing the beam of light, a stylised pentagonal prism that can be embedded on each lamp.
The husband and wife architectural team were also responsible for the installation “Asia” for the exhibition “Bathing in Light” at the Art Garden of Superstudio Più, Via Tortona.
“The goal was to highlight the aesthetic and functional characteristics of marble and at the same time bring the audience to a different experience in the use of this valuable material.” says the architect “In concept, the architectural symbol changes the exhibition space into a mineral structure. Black marble for the flooring and the side walls, and particularly bright white marble, for the body of the installation. A precious concatenation of dodecahedra in white marble is lifted from the ground, as if to draw strength. From a perspective point of view the installation grows in height with an irregular sinusoidal pattern, almost like climbing up the black marble wall.”