Username
Password
Forgot your password?
HOME
ARCHITECT
|
LOCATION
|
TYPOLOGY
|
EXHIBITIONS
|
ADVANCED SEARCH
EXHIBITIONS AND EVENTS
BUILDINGS
ARCHITECTS
Louise Bourgeois
Rare Language
, Napoli [Naples] (Italy), Studio Trisorio, 25 june / 28 september 2024
Alessandro Mendini
Fulvio Irace
(ed.),
Io sono un drago. La vera storia di Alessandro Mendini
, Milano [Milan] (Italy),
Triennale Milano
, Spazio del Cubo,13 april / 13 october 2024
Presented in collaboration with Elisa and Fulvia Mendini – Archivio Alessandro Mendini, the retrospective is curated by Fulvio Irace with exhibition design by Pierre Charpin, who has collaborated with Mendini on several occasions. The Cubo space of Triennale displays over 400 works with different formats, materials and subjects, from many private and public collections, in particular those from: Alessandro Mendini Archive, Fondation Cartier, Triennale Milano, Groninger Museum, Vitra Design Museum, Abet Laminati Museum, Alessi and Bisazza.
The title of the exhibition, Io sono un drago (I am a dragon), draws on one of the most emblematic self-portraits by Alessandro Mendini and is intended to emphasize the complexity of this figure in the worlds of international design, architecture, and art. The exhibition sets out to restore Mendini's gaze on the world, his empathy for everyday objects and the mystery of his artistic philosophy that can transform even the most humdrum into a surprise that reveals the magic of the everyday.
The exhibition design, by Pierre Charpin, interprets the concept of the “dragon” as an accumulation of thematic nuclei that characterize the “Mendini method”: an archipelago of islands representing various moments in history and, at the same time, the threads of underground continuity that make it possible to bring a substantial continuity to the apparent diversity of his ceaseless research, based on his own human experience. As visitors enter the large room, they find themselves immersed in a unique environment, accentuated by a large axis that creates an imaginary link between the Petite Cathédrale and the Tête Géante, with the Muzio staircase in the background: a miniature piece of architecture and a big head to exemplify Mendini's work on the staircase of perception.
The exhibition itinerary is structured in six thematic nuclei: Identikit, featuring the series of self-portraits that Mendini created over the course of his whole life, using different techniques and formats; La sindrome di Gulliver (The Gulliver syndrome), with a succession of objects that are out of scale, from extra-large ones – such as the Poltrona di Proust and the Petite Cathédrale, both part of the Fondation Cartier collection – to some of the reduced-size projects created for Alessi; Architetture (Architectures), which presents the architectural works of the Mendini workshop, including the Groninger Museum, the Mediazentrum Madsack in Hanover, the three stations of the Naples Metro, and his most recent works in South Korea, from the Olympic Stadium to the Posco district in Seoul; Fragilismi, a nucleus dedicated to the research that led to the “Fragilisme” exhibition, designed by Mendini on the invitation of the Fondation Cartier: a hymn to the fragility of the earth in a world marked by war and violence; Radical Melancholy, a section dedicated to the years of radical design, of which Mendini was one of the principal theorists; and Stanze (Rooms), with three of the rooms that Mendini designed: immersive environments where references, memories, dreams and nightmares accumulate.
In the cinema hall, there is a screening of a documentary by Francesca Molteni, covering the life and works of Alessandro Mendini. In addition, the wall of the Triennale staircase landing features an oversized Mendinigrafo, while the Cuore space hosts historic publications by and about Alessandro Mendini, from the Alessandro Mendini Archive, the Éditions Fondation Cartier pour l'art contemporain and the Triennale Milano Library. Finallly, visitors to the garden can see the flag created by Mendini for the Draw me a Flag project, an 81-flag installation conceived by Christian Boltanski and realized in 2018, belonging to the collection of the Fondation Cartier pour l’art contemporain.
EXHIBITION THEMATIC NUCLEI
Identikit
For Mendini, self-representation is “existential exploration, vivisection of the body” through drawing: a therapeutic gymnastics, a life practice that dates back to his formative years at the Politecnico di Milano, when his vocation as an architect was beginning to be undermined by the lure of art.
In 1960, he imagined himself constrained within the contraction of a mirror, his features deformed and elongated, almost ghostly. A few years later, in 1972, his image sanctified by a self-supporting halo, a sort of relic of himself, is annotated by the acid sequence of his name: “M.A.”, “A.M2”, “A men”. The disturbing Autoritratto con Prigioniero di Mauthausen (1974) is accompanied by the vision of a Mendini crocifisso (1974), an externalization of the artist’s unhappy conscience in a world of indifference and desolation. The self-portraits of the 1980s are characterized by a newfound playfulness accompanied by an acute self- perception. Io sono un drago (2006) is an imaginative representation of his manifold creative activity as a summation of anatomical parts corresponding to specific qualities that takes the form of a mythological figure tradition- ally connoted as wild and evil.
Gulliver’s Syndrome
The result of “unbalancing gymnastics”, scale work is a tool to stress the design, because as Alice said, “Being so many different sizes in a day is very confusing!” The “giant game” (and its opposite) highlights “the loss of the unit of measurement”, but makes the body play the role of measuring the proportions. Is the Petite Cathédrale, which marks the start of a series of giants in miniature, a small piece of architecture or a large design object? Conversely, the Tête Géante serves as an ironic counterpoint to it, along with the interplay of Cavalieri di Dürer, present in all kinds of heights. The world of Lilliput is confronted with that of Brobdingnag, disorienting the observer: the extra-large Poltrona di Proust (which serves as the entrance to the exhibition) is different from the intimist dimension of the original, and this in turn is different from the ironic bibelot reduction in different materials.
Architecture
Designing is painting. This is the underlying principle of the Atelier Mendini run with his brother Francesco: “We create wandering architecture, conceptual relics of painted installations. The materials we work on are the colouring and mannerism of visual alphabets rendered abstract and autonomous.”
This did not prevent the creation of highly innovative works, such as the Groninger Museum and the three Naples Metro stations, indicative of a working method (the Designing Community) based on a multiplicity of approaches and the organic coexistence of artists. While the Dutch museum was in fact one of the first experiments in urban regeneration, the Neapolitan stations are attemptsatacupunctureinwhichthearts arecalledtotakejointresponsibility with architecture. The Galleria Mendini in Lörrach and the Mediazentrum Madsack in Hanover are experiments in redefining the urban block that hark back to Bruno Taut’s modern- ism. The entry into the new millennium espouses the well-known format of the decorated shed, as in the design for the Posco residential district in Seoul with housing units transformed into gigantic electronic circuitboards,perhapssymbolizingthecountry’smost important technological industry.
Fragilisms
In 2002, for his solo exhibition at the Fondation Cartier, Mendini designed the Fragilisme poster. It features a table that, like a mountain cave, represents the cosmogony of human frailty. More than a poster, it is a spiritual atlas: it does not imply a ought-to-be, but reflects who we are, with a celebration of the fragility of the earth in an aggressive world marred by wars and violence.
Recurring words—fragile, enigma, mirage, labyrinth— intertwine with the discontinuous markings of thread- like bodies resembling electrical circuits, evanescent faces, stars and waves, flames.
Older words converge there, fragments of time-worn experiences such as “soft design”, “unhappy design”, “subtle survival”, “pictorial design” and “new relig- iosity”, to compose a vision of the world as a fragile system, consistent with the eternal fragility of the human being.
Rooms
The experience of the first “home” concentrated in a room is the theme that runs through Alessandro Mend- ini’s life: the common thread that traverses the Stanza del secolo, the Stanza banale, the Stanza filosofica, the Stanza da manuale, the Chambre à souvenir, all the way through to Le mie prigioni, the extreme confession of his particular poetics of memory.
With different intonations according to different cul- tural temperaments, he has designed rooms without a view, in which quotations, memories, dreams and nightmares accumulate. Each room seeks to represent the sediments of the domestic universe: almost a photographic set using fittings that simulate a disturb- ing still life. Behind the guise of paradox, of inventive unbridledness, of the freedom of signs and colours, one senses the melancholy of reverie, congenial to the short duration of the event, of which only photography and drawing will retain traces.
The Piccola stanza con scarabeo (1996) is emblematic of the mystery of the closed room: the key dropped on the floor is the lost way out of a concentrationist universe, where decoration uninterruptedly invades furniture, floor, ceiling and walls.
Radical Melancholy
In the seventies, his years as editor of Casabella coincided with an awareness of the role of architecture at a time when political debate and social conflicts were intensifying. These were years of intense and painful reflection for Mendini, of incubation of themes that would explode into proposed images with a high expressive gradient, into acts of design terrorism expressed through counter- design objects. In 1974, the Valigia per l’ultimo viaggio and the Lassù chair marked the climax of the “unhappy conscience”, the culmination of a melancholic radicalism that found expression in the Oggetti ad uso spirituale cycle: stations for meditations on eternal thoughts, functional “owls”, “objects of normal use restored to mythological status”.
With Alchimia, the idea of re-design stems from the observation that all forms in the world already exist; to create new images, it is enough to revamp existing objects. The icon of this method remains the Poltrona di Proust, a ready-made where kitsch is divinely delivered. Linked to a performance presented in Milan on 18 September 1981, the Mobile Infinito is a celebration of the logic of teamwork, but also the manifesto of a method of designing a “catalogue” of solutions open to infinity.
Gio Ponti
Gio Ponti. Ceramiche 1922-1967. Oltre duecento opere dell’inventore del Made in Italy
, Faenza (Italy), MIC Museo Internazionale della Ceramica, 17 march / 13 october 2024
Al grande architetto, artista e designer Gio Ponti (1891-1979), promotore e divulgatore del “fare” italiano, è dedicata la prossima mostra del MIC Faenza che apre al pubblico il 17 marzo per rimanere allestita fino al 13 ottobre 2024.
La mostra dal titolo “Gio Ponti. Ceramiche 1922-1967”, a cura di Stefania Cretella, espone in quattordici sezioni oltre duecento opere - tra ceramiche, vetri, arredi e disegni - attraverso le quali viene analizzato, dal 1922 al 1978, il lavoro di Gio Ponti in relazione alla sua visione dell’abitare e di un nuovo vivere moderno.
“Impari le cose fatte con le mani. Nulla che non sia prima nelle mani”, questa sua emblematica citazione racchiude il suo pensiero, che fin dagli esordi recupera la tradizione classica (etrusca e romana) e il fare dell’alto artigianato artistico, adattandoli al gusto moderno. Ponti è stato una figura chiave nella definizione dello stile italiano non solo attraverso la propria attività progettuale, anche grazie alla fitta rete di relazioni con artisti, industriali e artigiani, ma soprattutto grazie alla direzione di due riviste divenute storiche del settore come “Domus” e “Stile” e alla costante partecipazione a mostre ed esposizioni.
Ponti è infatti protagonista delle Biennali di Monza, delle Triennali di Milano e di eventi internazionali come la mostra itinerante “Italy at Work. Her Renaissance in Design Today” tenutasi negli Stati Uniti tra il 1950 e il 1953, volta proprio a promuovere oltreoceano il “Made in Italy” presentando i massimi rappresentati del design e dell’alto artigianato artistico italiano.
Il suo rapporto con la ceramica inizia appena laureato. Tra il 1921 e il 1922 Ponti giunge alla Richard-Ginori e comincia il rinnovamento del repertorio storico della manifattura proiettandola verso il nascente gusto déco. La mostra mette a fuoco il fondamentale contributo apportato dal nuovo direttore artistico nel corso di circa un decennio, proponendo anche confronti con designer e artisti attivi negli stessi anni presso altre manifatture italiane, evidenziando le ricadute che il modello pontiano ha avuto sul contesto contemporaneo.
Dai primi anni Trenta Ponti si avvale della collaborazione del giovane apprendista Giovanni Gariboldi che diventa suo assistente di fiducia e poi suo successore in casa Richard-Ginori. Terminati i rapporti con la manifattura nel 1933, Ponti torna saltuariamente a collaborare con l’azienda proponendo idee di grande estro creativo e inizia a stringere nel tempo rapporti con il mondo delle arti decorative e del design. In oltre cinquant’anni di attività collabora con Pietro Melandri e il contesto faentino (famose le cartepeste realizzate con i Dalmonte), con le Ceramiche Pozzi, Gabbianelli, Venini, Fontana Arte e Sabattini, per citare le principali aziende con cui promuove percorsi e progetti unici e straordinariamente attuali.
La cifra stilistica di Ponti è un segno senza tempo, contemporaneo, che ha stimolato dialoghi con artisti e designer della sua epoca, ma ha anche ispirato ceramisti del XXI secolo. La mostra si conclude infatti con una sezione dedicata all’eredità di Ponti e alle influenze che questa ebbe su autori quali Alessandro Mendini ed Ettore Sottsass, per giungere ai contemporanei POL Polloniato, Diego Cibelli, Bertozzi&Casoni, Andrea Salvatori.
Louise Bourgeois
Louise Bourgeois in Florence
, Firenze [Florence] (Italy), 22 june / 20 october 2024
Do Not Abandon me
, Firenze [Florence] (Italy), Museo Novecento, 22 june / 20 october 2024
Cell XVIII (Portrait)
, Firenze [Florence] (Italy), Museo degli Innocenti, 22 june / 20 october 2024
Coinciding with the 10th anniversary of its opening, Museo Novecento celebrates Louise Bourgeois as one of the absolute protagonists of 20th and 21st century art with the exhibition Do Not Abandon Me, curated by Philip Larratt-Smith and Sergio Risaliti in collaboration with The Easton Foundation. Conceived in close dialogue with the architecture of the former Leopoldine building, a complex with a strong social vocation run for centuries by all-female communities, the exhibition will give the opportunity to experience almost one hundred works by the artist. These will include many works on paper created in the 2000s and sculptures of various sizes in fabric, bronze, marble and other materials. There is also great anticipation for Spider Couple (2003), one of Bourgeois's most famous and emblematic creations, which will be installed in the museum courtyard.
For this special occasion, the collaboration with Istituto degli Innocenti will be revived. Founded in 1419 as a hospital with the specific purpose of welcoming children deprived of family care in an environment marked by high artistic and architectural value, the Institute has never interrupted its original mission, and is known for pioneering innovations for the care of the youngest children. In the complex designed by Filippo Brunelleschi, the Museum will host Cell XVIII (Portrait), a work of strong visual impact which powerfully resonates with the history and collection of the Innocenti, chosen by Philip Larratt-Smith in dialogue with Arabella Natalini, director of the Museo degli Innocenti, and Stefania Rispoli, curator of the Museo Novecento.
The exhibition Do Not Abandon Me, strongly desired by the director of Museo Novecento and whose gestation dates back six years, will occupy almost the entirety of the former Leopoldine building, between the galleries on the ground and first floors.
The exhibition will present a survey of Bourgeois’s late red gouaches with a thematic focus on the motif of the mother and child. The exhibition’s title refers to Bourgeois’s powerful and lifelong fear of abandonment, which here relates to the mother-child dyad that sets the pattern for all future relationships. Motherhood and all its discontents was central to Bourgeois’s conception of herself. At the same time, as old age made her frailer and more dependent upon others, there was an unconscious shift towards the mother in her late work.
Made during the last five years of Bourgeois’s life, the gouaches explore the cycles of life through an iconography of sexuality, procreation, birth, motherhood, feeding, dependency, the couple, the family unit, and flowers. In making them, Bourgeois worked “wet on wet”, which meant relinquishing some control over the final result and embracing the role of chance and fate. Red was Bourgeois’s favourite colour, and the intensity of the gouache is evocative of bodily fluids, such as blood and amniotic fluid.
Of particular interest is Bourgeois's collaboration with British artist Tracey Emin (Margate, 1963). On display will be a series of sixteen digital prints on fabric entitled Do Not Abandon Me (2009–10), created as a result of the two artists' meeting. This was a project of great generosity and empathy between Bourgeois and Emin, and succeeds in communicating their own unique artistic languages while also creating strong visual compositions of understanding and tension, raising them to a universal level.
Exceptionally, the Museum's cloister will host Spider Couple (2003), one of Bourgeois's iconic large- scale spiders, made in bronze. The exhibition will be complemented by the special display of two important installations: Peaux de Lapins, Chiffons Ferrailles à Vendre (2006), one of the artist’s Cells, presented in a room on the ground floor of Museo Novecento, and Cross (2002), presented in the former church of the Renaissance building, which women were once forbidden to enter during the celebration of religious rites, as evidenced by the women's gallery separated by iron grilles.
As part of the Florentine project, the Museo degli Innocenti will place Bourgeois’s Cell XVIII (Portrait) (2000) in evocative dialogue with some of the collection's most iconic works. The rare cultural, historical, and artistic heritage of the Museum exemplifies the centuries-old history of the public institution, long characterized by the presence of a conspicuous female community.
Louise Bourgeois grew up just outside Paris, where her parents ran a tapestry restoration workshop and gallery. Her childhood was marked by complex family relationships, which led to traumatic experiences that were a major source of inspiration for her art. From intimate drawings to large- scale installations made in a variety of media, including wood, marble, bronze, and fabric, Bourgeois expressed psychological states through a visual vocabulary of formal and symbolic equivalents. The scale and materials of her works vary as much as the forms, which oscillate between abstraction and figuration. Emotions such as loneliness, jealousy, anger, and fear are common threads in her oeuvre. Her almost obsessive writing, as well as drawing, remained central forms of expression throughout her life.
Through her art, Bourgeois investigated the intricate dynamics of the human psyche and often stated that the creative process was a form of exorcism: a way of reconstructing memories and emotions in order to free herself from their grasp. Although initially she devoted herself to painting and drawing, it was ultimately sculpture that constituted a fundamental part of her work, centered on autobiographical elements often reworked in a metaphorical key. Bourgeois transposed family tensions and traumas, above all the complex relationship with her parents and its broken, damaged, but never severed ties, into numerous works that narrate the shattering experience of abandonment and the longing to connect. Her world of emotional intensity and obsession draws inspiration from the unconscious, seeking to express the unspeakable. Bourgeois thus opens up to a poetics of the uncanny, capable of exorcising trauma and inhibitions. The variety of mediums and techniques Bourgeois employed is extraordinary, and her fertile creativity, curiosity, and experimentation places her alongside the very great artists of the last century. Until the final days of her very long career, she was never idle, nor did she exhaust her intellectual curiosity and creative energy in definitive and repetitive paths and goals.
From her earliest works, Bourgeois established the relationship with the mother as an essential theme, and associated this from the 1990s onwards with the image of the spider. A major spider sculpture – in this case, a mother-and-child pair – will be displayed in the cloister of Museo Novecento as the thematic centerpiece of the entire exhibition. As has often been pointed out, the spider represents for Bourgeois a symbol of her mother, and as such it is the bearer of dual and conflicting meanings. It can be interpreted as the embodiment of extreme intelligence, a protective figure that provides for its young by building a home and securing food. Indeed, Bourgeois herself identified with the spider because she felt that her sculpture came directly out of her body, much as the spider spins its web. But it is also the manifestation of a threatening and disturbing presence, an expression of underlying hostility and aggression that collects and encapsulates traumatic experiences from deep within the unconscious. Thus, the installation of Spider Couple in the Renaissance cloister, designed by Michelozzo and traditionally intended for meditation and contemplation, becomes emblematic. Museo Novecento is also proud to premiere Spider, a floor sculpture consisting of a bronze spider and a mable egg which has never been publicly exhibited before.
Similarly, the choice to exhibit Peaux de lapins, chiffons ferrailles à vendre seems revealing. Among one the last works belonging to Bourgeois’s Cells series, which were first presented to the public in 1991 at the Carnegie Museum of Art in Pittsburgh, its title refers to a childhood memory, that of the cries of rag pickers engaged in selling goods on the street. Within the Cell, Bourgeois inserts a number of sculptural elements that recall her personal and family history, such as cloth sacks and rabbit skins: components referring, respectively, to the empty womb and by extension the female body, and more literally to the animals hunted and raised by her family members. The name of the series plays on the multiple meanings of the word 'cell,' which can be translated into Italian into “cellula” or “cella.” It thus refers as much to the elementary unit of all living organisms as to the condition of isolation, separation, and confinement that characterizes a prison or monastery. These are meanings that take on special resonance within a building that over time has been a hospital, a place of shelter, a space for the education and reintegration for women, a school, and even a prison.
When first introducing her Cells, Bourgeois stated, "The Cells represent different types of pain: the physical, the emotional and psychological, and the mental and intellectual. When does the emotional become physical? When does the physical become emotional? It’s a circle going round and round. Pain can begin at any point and turn in either direction. Each Cell deals with fear. Fear is pain. Often it is not perceived as pain, because it is always disguising itself. Each Cell deals with the pleasure of the voyeur, the thrill of looking and being looked at. The Cells either attract or repulse each other. There is this urge to integrate, merge or disintegrate."
Thanks to the installation inside a room on the ground floor of Museo Novecento, Peaux de lapins, will reveal unprecedented associations with the life of the monastic community that animated the history of the former Leopoldine, a complex that was founded in the 13th century as a pilgrims’ shelter, and which then became a place of convalescence. Since the 16th century, in fact, its management was entrusted to the Franciscan Tertiary Sisters. Later, at the behest of Pietro Leopoldo of Lorraine, the management was entrusted to the nuns of the Conservatorio delle Terziarie (also known as the Giovacchine) and the Conservatorio di Gesù Buon Pastore (also known as the Stabilite), the latter in charge of, among other things, initiating poor girls into women's work (hence the name "Scuole Leopoldine").
Partial evidence of this long affair survives to this day in a series of frescoes, visible in the ground floor rooms of the museum where Peaux de lapins will be presented. Of particular note is a painting depicting a sister inviting silence: iconography, often used in the entrances of refectories and dormitories, that seems to act as a warning to anyone passing through these spaces by hinting at the need for recollection and contemplation even in environments intended for community life. And it is contemplation and silence that the visitor will be invited to consider along the path of the visit, inspiring an in-depth reading of the work and its themes, and even a personal de-construction and elaboration of one's own social models and references, one's own traumas, ghosts, and desires.
The Cell presented at Museo degli Innocenti also invites recollection and contemplation of spaces once daily lived, fitting within the Art route that unites the gallery above the Brunelleschian loggia of the façade and the rooms of the Coretto that overhang the ancient Church of Santa Maria degli Innocenti.
Although belonging to the same series as Peaux de Lapins, the subject of Cell XVIII (Portrait) seems to peculiarly reinterpret the iconography of Madonna della Misericordia, which recurs in some of the most emblematic works in the collection and strongly represents the Institution's vocation of hospitality. In celebrating the role fulfilled by the Institution over the centuries, this image calls to mind the large female community composed of both the girls received and raised here and the figures who, by performing various tasks, have contributed to ensuring that the condition of women, and of mothers in particular, has become part of the institutional mission alongside the promotional activity on the rights of children and adolescents that is today identifiable with Istituto degli Innocenti.
Cell XVIII (Portrait) will therefore be in dialogue with that mission, in the spaces where different stories echo, steeped in the desires and fears also expressed by Bourgeois, which do not, however, exclude here the possible fulfillment of an expectation.
I.M. Pei
I. M. Pei: Life Is Architecture
, Hong Kong [Xianggang], China, M+, West Gallery, 29 june 2024 / 5 january 2025
Frank Lloyd Wright
Photographing Frank Lloyd Wright
, Chicago (USA), The Richard H. Driehaus Museum, 24 october 2024 / 5 january 2025
Gae Aulenti
Gae Aulenti (1927 – 2012)
, Milano (Italy),
Triennale Milano
, 22 may 2024 / 12 january 2025
Louise Bourgeois
Louise Bourgeois: I have been to hell and back. And let me tell you, it was wonderful.
, Tōkyō (Japan), Mori Art Museum, 25 september 2024 / 19 january 2025
COMPONENTS AND SYSTEMS
MODULAR CONSTRUCTION
I sistemi costruttivi si sono ridotti al più piccolo numero possibile di e...
GA CONTEMPORARY ARCHITECTURE 03 LIBRARY
Esce, a notevole distanza dai precedenti, il vol. 3 della serie Architettur...
NORMAN FOSTER WORKS 5
Vincitore del Pritzker Prize e del Praemium Imperiale, Norman Foster è uno...
IN DETAIL: COST-EFFECTIVE BUILDING
ECONOMIC CONSTRUCTIONS AND CONCEPTS
Gli edifici a basso costo richiedono una particolare attenzione e cura dura...
A10 #25
CZECH BOXES
NEWS E OSSERVAZIONI Museo aan de Stroom, Anversa (BE) di Neutelings Ried...
EL CROQUIS 138
RCR ARQUITECTES 2003-2007
ALL'INTERNO: BIOGRAFIA PARQUE DE PIEDRA TOSCA PARQUE DE LA ARBOLEDA G...
THE PLAN 033
HIGHLIGHTS Architetti emergenti in Cina (Michael Webb) MADE IN ITALY Fiore...
AV PROYECTOS 026 2008
PATRIMONIO
CONTENUTI OMA / Rem Koolhaas Fondazione Prada, Milano UN Studio Ris...
Contacts
Copyright © 2004 - 2024
MONOSTUDIO | ARCHITECTOUR.NET
|
Disclaimer
|
Conditions of use
|
Credits
|
?>
