Towering the Gudauri valley and offering a panoramic view to the surroundings it recalls more a military outpost rather than a symbol to celebrate friendship. A very powerful typological shift for this monument.


Conceived as a series of bridges stacked an interwoven with each other, the former Ministry of Transportation towers the Mtkwari river and acts as incredibly dynamic panoramic device. A giant and muscular construction who’s only aim was to reduce its footprint and minimise its impact on earth.


An electrical substation. Extremely faithful to its technical program by celebrating modularity and precision. It doesn’t renounce to its urban expression recalling the idea of a city gate.


A building? A street? A ramp? You can enter it, you can walk along it, you can climb it. It becomes an urban stage showcasing urban life unfolding onto the harbour. A real urban device and, possibly, the real monument of Ventotene.


An architecture where scale and composition transcend beauty, possibly because it has never pretended to be pretty. Its only ambition was to be as functional as possible: to hold the ground above and to host as much water as possible. The spatial experience is in a word: MIRABILIS..


The almost obsessive repetition of the same modules offers a surprisingly reach typological variation. Each composition reacts to the terrain creating a unique yet coherent design. Each house tells a story: the story of the mountain on which they lay.


We’ll remember you. Your seeking for lightness despite you weight. Your contrast between metal and concrete, between dark and light. We’ll remember your plinth and its dialogue with Victor Horta. They could have reserve you a better life. Thanks for all these years.


Inside-outside, light-shadow, public-private. Two identical porches facing each other and sharing a garden. Such a simple plan organisation yet such a complex and subtle mediation.


A giant concrete rectangle lying on the hills. Possibly one of the biggest scars one could ever experience. A scar so big to alter the perception of what’s natural and what’s not. A true crystallized landscape constantly reminding of what was,is and will be.

A A and A again

An almost obsessive repetition of the same element draws the attention on its intrinsic qualities. Each grooved prefab element is made of washed-out concrete and endlessly multiplies the light and shadows effect. Their composition originates a rhythm that evokes, perhaps, the idea of an infinite sequence.


A juxtaposition of vertical and horizontal concrete volumes following a rational composition. The effect of such a spatial arrangement is to shift the attention on the non built of the in-between spaces. An architecture which in a way opposes itself to nature but ends up enhancing the latter's importance.


We don't know whether that's true. Judging by the harmony of the materials, the correspondence of the forms and the balance between reflective and opaque surfaces, it might even have been possible.


A heliport conceived as triumphal gateway to the sky towers the Corona Park. A horizontal platform lifted on four shafts hosting vertical circulation. Seeking no negotiation, it literally imposes its presence onto the context with the same power of an ancient monument.


A repetition of one typology, dimensionally adapted to the hosted machinery, composes the washing plant of Montevecchio’s mining site. Facing a water basins the sequence of pitched roof volumes forms a composition which establishes a subtle dialogue with the surrounding landscape. Natural and artificial elements become part of the same coherent territorial system.


Both inner corners, despite 5 centuries and almost 7000 km in between, present a thread-like profile to express themselves within the system they’re part of. No matter if for Bramante it belongs to the ionic pilasters whereas for Mies to the open-corner solution, they both become emblems of mathematical precision and its physical realization.