Ferrillobelli

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Ferrillobelli

Ferrillobelli Under the creative direction of Fabio Ferrillo, OFF Arch, established in 2010, provides an integrated approach to architecture, set design and art.

Fabio Ferrillo, architetto, dopo la tesi sperimentale al Politecnico di Milano (2004), viene invitato a collaborare con uno dei più dinamici studi della città, dove acquisisce dimestichezza con la progettazione di abitazioni di lusso e spazi commerciali per prestigiosi marchi italiani. Trasferitosi a Parigi dal 2005 al 2010 per confrontarsi da vicino con le più recenti realizzazioni dei grandi ar

chitetti francesi e le suggestioni della Maison de Verre di Pierre Chareau e per dirigere il team internazionale di progettazione per i laboratori del Pôle de Recherche a Laon, affina il proprio tratto distinguendosi nel taglio degli spazi a misura dl committente, senza perdere il controllo dei costi di realizzazione. Chiamato in Italia a far parte di un hub di giovani creativi uniti dal desiderio di condividere le diverse esperienze e competenze rispettivamente maturate nel mondo della fotografia, grafica, sartoria e design, fonda nel 2010 lo studio di architettura OFFarch. In questo humus interdisciplinare e differenziato maturano le collaborazioni nel campo del retail con lo stilista astro nascente della moda italiana Massimo Giorgetti, per cui realizza gli headquarters del marchio MSGM a Milano, trasformando una vecchia fonderia in una fucina di idee, e con la fashion blogger più seguita del momento, Chiara Ferragni, per cui progetta lo showroom milanese ma soprattutto il concept per gli omonimi shoe store monomarca e ne cura la realizzazione presso Le Bon Marché a Parigi, Apropos a Colonia, Harvey Nichols a Hong Kong. Ma è collaborando con Riccardo Grassi, all’interno del cui prestigiosissimo showroom milanese realizza l’enorme spazio dedicato alle campagne vendita MSGM, che Fabio Ferrillo elabora la prima emotional room, elemento al contempo architettonico e artistico, che realizza un’esperienza emotiva posta tra i buyer e la collezione. Istallazioni sempre nuove, realizzate impiegando creazioni di autori contemporanei, le emotional room di Ferrillo stimolano in chi si accinge ad accedere allo showroom pensieri, idee, emozioni di rottura con il caos esterno, ma in linea con i mood delle collezioni. Playground, maggio 2015, parco onirico, composto da giostre e altalene in ottone disposte su un campo di specchi, sullo sfondo degli scatti notturni del fotografo parigino Stanislas Wolff ha introdotto il pubblico alla collezione Woman Resort e Man Spring Summer 2016. Soundbox, settembre 2015, immaginaria stanza sonora in cui i rumori esterni sono annullati da pannelli fonoassorbenti per essere avvolti dall’installazione musicale, ha rappresentato la porta verso la collezione Woman Spring Summer 2016. Con l’intento di valorizzare questo approccio integrato tra moda, design, arte e architettura è imminente l’installazione di Soundbox presso Le Bon Marché a Parigi in occasione della prossima fashion week, perché l’esperienza emozionale proposta da Ferrillo possa essere vissuta non solo dai buyer ma da tutti i clienti MSGM. Fabio Ferrillo, architect, finalised his studies at Politecnico di Milano in 2004 and was then invited to collaborate with one of the most up-and-coming firms of the city, where he became an expert in the design of luxury homes and commercial spaces for prestigious Italian brands. In 2005 he moved to Paris in order to become more closely acquainted with the latest achievements of the great French architects and the vision of the Maison de Verre by Pierre Chareau. During his time in the ville lumiere he directed the international design team for the laboratories of the Pôle de Recherche in Laon. Paris gave Fabio Ferrillo the means to refine his distinguishing traits: cutting tailor made spaces while managing to keep costs at bay became his major strength. Fabio Ferrillo went back to Italy in 2010 to be part of a fantastic hub of creative young people united by the desire to share their passion and expertise in photography, graphic design and tailoring and established his architecture studio, OFFarch. While in this interdisciplinary creative melting pot, Fabio Ferrillo starts collaborating with Italian fashion revelation Massimo Giorgetti, creating the headquarters for his brand MSGM in Milan by transforming an old foundry into a unique working space. He also collaborates with Chiara Ferragni, world renowned fashion blogger, for whom he designs a showroom in Milan and a series of concept stores as well as concessions at Le Bon Marché Paris, Apropos Cologne, Harvey Nichols Hong Kong. In collaboration with Riccardo Grassi, in his prestigious Milan showroom, Fabio Ferrillo realizes the enormous space dedicated to the sales of the MSGM brand. Here Fabio creates the first ever emotional room. An architectural and artistic space placed in between the buyers and the collections, filled with constantly changing contemporary artists installations, aimed to set people free from the outside chaos and fine tune them to the environment to start feeling the theme. Playground, in May 2015, a dream park of brass, rides and swings arranged on a field of mirrors. In the background, night shots by Parisian photographer Stanislas Wolff. This installation introduced the audience to the Women’s Resort and Men’s Spring Summer collection 2016. Soundbox, in September 2015, an imaginary sound room where external noise is eliminated by soundproofing panels that in turn hide a musical installation by the sound designer Andrea Ratti. This has been the gateway to the 2016 Spring Summer Women’s collection. This integrated approach to fashion, design, art and architecture will soon be installed and presented at Le Bon Marché in Paris during the next Fashion Week, so that this emotional experience can be undertaken not only by buyers at the showroom but by all MSGM customers.

11/02/2025

Jean Nouvel, Institut du monde arabe, Paris, 1981-1987.

“A cultural position in architecture is a necessity. This involves refusing ready-made or facile solutions in favor of an approach that is both global and specific. The Arab World Institute is a showcase for the Arab World in Paris. It is therefore not an Arab building but an occidental one. The representatives of the 19 Arab states that commissioned it were surprised by it. Some had wished for something more pastiche-like, like the Paris Mosque. But certain symbolic elements pleased them, like the “moucharabiehs” whose polygons of varying shapes and sizes create a geometric effect recalling the Alhambra. From an urban point of view the Institute is a hinge between two cultures and two histories. If the south side of the building, with its motorized diaphragms, is a contemporary expression of eastern culture, the north side is a literal mirror of western culture: images of the Parisian cityscape across the Seine are enamelled on the exterior glass like chemicals over a photographic plate. These patterns of lines and markings on the same façade are an echo of contemporary art. The frontiers between architecture, interior design, and furniture design are to my mind a total fiction.”

08/02/2025

“In the Arab world there is a battle about identity and modernity going on. Because the development is so fast, you get a lot of misplaced architecture, without local color or identity. Architecture should reflects Arab identity that is often linked to Islam and its relationship with geometry, abstractions, decorations, light and water.” Jean Nouvel

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04/02/2025

Aurelio Galfetti, Medieval Brutalism: Castelgrande, Bellinzona, 1981-1991.

“Preserve = Transform was the slogan hold up through the long process of restoration that lasted more than twenty years. In the relationship between ancient and contemporary, in this unavoidable conflicts someone can really face this straight comparison between past and present without subordinating the latter alleging the higher values of the past.” Aurelio Galfetti

The castle of Castelgrande, Bellinzona, and the rock on which it stands constitute an inseparable architectural and geographical ensemble. The project for their rehabilitation by Aurelio Galfetti is not only a project for their conservation and restoration, but also for ascribing to them a renewed meaning. Galfetti re-establishes the meaning of this place through two actions which since its very origins have given sense to the occupation of space by man: digging and enclosing.

The result of such operation is a peculiar positioning within the discourse on theory and practice of restoration: the intervention does not affect the buildings only, but also the whole hill below – making it bare rock where it faces an urban square, and vineyards on the other sides – while the project, where it does not directly hide inside the rock, does show very little attempt to be mimetic, it gives instead a very strong contemporary expression to the whole complex.

Today this work - thanks also to political determination - makes a concrete contribution to Bellinzona. From the top of a hill it establishes, as a public place, a strong architectural and social bond with the town, and becomes its chief landmark. A new acropolis.

Photography Trevor Patt, Celia Uhalde and archives.

01/02/2025

Aurelio Galfetti.

Galfetti’s buildings describe his continuing belief in the necessary harmony between architecture, social infrastructure and the territory it occupies, both physical and cultural. The fundamental aspect of his way of making architecture lies precisely in the relations between interior and exterior, seeing the “striving for simplicity (...) as the ethical form of the work”.

1. Le plein et le vide, conference, 1983
2, 3. Aurelio Galfetti, Flora Ruchat, Ivo Trümpy, Primary School at Riva San Vitale, 1961
4. Bagno di Bellinzona, 1967
5, 6. Posta, Bellinzona, 1968
7. Castelgrande, Bellinzona, 1981
8. Teatro Sociale, Bellinzona, 1983
9, 10. Municipal Tennis Courts, Bellinzona, 1986

30/01/2025

“Memory is an object and instrument of the project itself, the relation between old and new is insoluble.” Aurelio Galfetti

Aurelio Galfetti - little known outside of Ticino - was a radically nonconformist architect. His long career has encompassed since the early 1960s a multiplicity of places, scales and types of intervention, still Canton Ticino, Switzerland, has always constituted a center of gravity for his work and research. There, in Mendrisio, he would found the Academy of Architecture with Botta; there he had realized, with Ruchat, the sculptural landscape complex of the Bagno di Bellinzona; and there, in Bellinzona, Galfetti was commissioned in the early 80s to restore and reactivate one of the three castles surrounding the city.

27/01/2025

Porta Vittoria è pronta, scoprila ora. E’ questo il claim del sito internet che commercializza gli appartamenti ma che omette un piccolo dettaglio: è pronta, ma da più di 10 anni.

Via di qui. Questo grida la speculazione alla classe grigia tra in 20 e i 40.000€ l’anno che sempre più si spinge a investire nelle periferie. Periferie che a loro volta si spopolano di tutti quei soggetti fragili, quelli che hanno bisogno del sostegno dello stato e del comune.

Milano vive una speculazione edilizia così crudele che le case lussuose sorgono senza nemmeno l’obbligo morale di essere popolate. E’ una città fantasma che non è più di persone o di cittadini, ma di soli capitali che a dispetto di tutto, del tempo, dell’etica, devono essere rastrellati, proprio come le foglie del parco accanto.

21/01/2025

Porta Vittoria è pronta, scoprila ora. E’ questo il claim del sito internet che commercializza gli appartamenti ma che omette un piccolo dettaglio: è pronta, ma lo è da più di 10 anni. Milano vive una speculazione edilizia così crudele che le case lussuose sorgono senza nemmeno l’obbligo morale di essere popolate.

14/01/2025

In the second half of the 20th century, Venice saw an influx of modern ideas and buildings in response to its new status as regional capital. Perhaps the most renowned of Venice’s Modernist structures are those by Venetian native Carlo Scarpa. However, Bruno Giacometti, Le Corbusier and Frank Lloyd-Wright have also contributed to a Modernist legacy in Venice. Since then, Venice has embraced modern architecture as long as it has been veiled by venerable walls. Tadao Ando’s
interior remodelling of the Punta della Dogana, next to Baldassarre Longhena’s glorious Baroque 17th-century Santa Maria della Salute, for François Pinault’s collection of contemporary art, is exemplary. Rem Koolhaas has been busy on the controversial conversion of the imposing Fondaco dei Tedeschi into a shopping mall, while David Chipperfield Architects just completed a renovation of the historical Procuratie Vecchie landmark.

1. Ignazio Gardella, Casa alle Zattere, 1958-1962
2. Alvar Aalto, Finnish Pavilion Venice Biennale, 1955
3. Carlo Scarpa, Negozio Olivetti, 1957-1958
4. Sverre Fehn, Nordic Pavilion Venice Biennale, 1958-1962
5. Louis Kahn, Palazzo dei Congressi, 1968 (unfinalized)
6. Gino Valle, Social Housing IACP, Giudecca, 1980-1986
7. Rem Koolhas and Ippolito Pestellini Laparelli, Fondaco dei Tedeschi, 2009-2016
8. MAP Studio, Porta Nuova Tower (Arsenale), 2009-2011
9. Tadao Ando, Punta della Dogana, 2009
10. David Chipperfield Architects, Procuratie Vecchie, 2017-2022

11/01/2025

Carlo Scarpa at La Biennale.

The traditional site of the Biennale Arte Exhibitions since the first edition in 1895, the Giardini rise to the eastern edge of Venice and were made by Napoleon at the beginning of the nineteenth century. It was the success of the first editions to trigger the building of foreign pavilions since 1907, which were added to the already built Central Pavilion. Over the course of decades the Central Palace underwent numerous additions and transformations, becoming in 1932 the Italian Pavilion. In 1948 (and until 1972) began Carlo Scarpa’s direct collaboration with La Biennale, which generated over the years a long series of remarkable projects and achievements. In 1968 Carlo Scarpa projects a loft in the central hall of the Pavilion, doubling the exhibition surface. Scarpa also signed the project of the Garden of Sculptures realized in 1952 and Venezuelan pavilion.

1. Giardino delle Sculture, 1952
2. Central Pavilion, 1952
3. Ticket office, 1952
4, 5. Venezuela Pavilion, 1954
6. Monumento alla Partigiana, 1969

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10/01/2025

Venice is not an urban museum frozen in history, immune to modernity. In the second half of the 20th century, Venice saw an influx of modern ideas and buildings in response to its new status as regional capital, which often goes unnoticed.

03/01/2025

There was a time when it seemed like blueprints, dreams, and raw concrete could change the world. We were optimistic then. We thought we could build utopia. We thought we could cast our vision of a better world in raw concrete and sweeping glass and cantilever it over the edge of our flawed present, over the chasm of our human failings, and into the open, untouched air of an ideal future - and then live there, all of us. If the 50s and the 60s promised better living through technology as manifested by new materials and rationalized geometries, then by the 70s a new spiritualism and yearning for experimentation and nature had taken hold.

What happened to the future? When did we decide that the present was the best we were going to get?

1, 2. Matti Suuronen, Futuro House, 1968
3. Monsanto, Monsanto House of the Future, California, 1957
4, 5. Andre Waterkeyn, Atomium, Brussels, 1958
6. Eero Saarinen, Trans World Flight Center, NY, 1962
7. Nanda Vigo, Cronotopi, 1963
8, 9. Sachio Ohtani, The Kyoto International Conference Center, Japan, 1966
10. John Lautner, Bob Hope residence, California, 1979

27/12/2024

Paul Rudolph, Yale Art & Architecture Building, 1958-1963.

“I’ve never worked on a building that affected me as much as that one does. I’d like to think that, in spite of everything, it says something about the nature of architecture.” Paul Rudolph, 1988

Rudolph established a reputation in the mid-’50s as the maverick foe of the corporatised, postwar International Style, then at its apotheosis. Decrying the glass curtain wall for its monotony, he called for greater variety and better regard for traditional buildings and urbanism. In those heady years, Rudolph excelled at all he attempted and earned yet another reputation as a brilliant instructor teaching at architecture schools across the US in the ’50s. He became chair of Yale’s architecture department in 1958, aged 39, transforming it into the premier US programme. Yale entrusted Rudolph with the design of the Yale Art & Architecture Building (1958-63), known as the A&A. Having built few large buildings, Rudolph knew that the A&A would be judged as a sign of his maturity.

Rudolph intended to create a building fostering interaction and collaboration among students and
faculty. The structure features interlocking spaces with varying ceiling heights and an open, flexible plan. This design allows for a dynamic flow of movement and various visual experiences within the building. The extensive use of concrete gives the building a monumental quality, while the large windows and skylights bring natural light into the interior spaces.
The Yale building was a popular success. With its picturesque grouping of towers and huge textured concrete walls, it ushered in the concrete monumentality soon known as Brutalism.

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24/12/2024

Paul Rudolph.

Paul Rudolph, the US’s greatest brutalist, had a career in four overlapping acts. First, starting in the 1950s, he designed private houses, delightful Florida getaways where modernist glassiness was tempered by screens and shutters. In the next decade he designed monumental concrete fortresses, majestic and sometimes monstrous, for universities, corporations and gigantic urban renewal programmes. Then came inward and intricate homes in Manhattan such as the Hirsch house, eventually owned by the fashion designer Halston, where the likes of Andy Warhol, Liza Minnelli and Bianca Jagger would go to Studio 54 afterparties, later again bought by Tom Ford. In the 80s he returned to building at scale, with big-budget commissions for skyscrapers and malls in Singapore, Hong Kong and Jakarta.

His creative journey was quite a switchback, running gamuts of delicacy and force, of interior intimacy and exterior bravura, and of celebrity and condemnation. If you don’t directly know his work, you’ll have experienced his influence. If you see a building of a certain age with roughed-up ribs of concrete, or compositions of exaggerated horizontals and verticals and top-heavy oversailing volumes, a bit of Rudolph likely lies behind them. As chair of the Department of
Architecture at Yale, he guided a generation of leading architects, including Norman Foster and Richard Rogers.

1. Paul Rudolph’s living room at 23 Beekman Place, NY, 1977-1995
2. Yale Art & Architecture Building, Connecticut, 1958-1963
3. Wallace Residence, Alabama, 1961
4. New Campus for Southeastern Massachusetts Technological Institute, Massachusetts, 1963
5, 6. Hirsch/Halston Residence, NY, 1966
7, 8. Bass Residence, Texas, 1970
9. Lippo Centre, Hong Kong, 1984-1988
10. Paul Rudolph

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18/12/2024

Arrigo Arrighetti, Quartiere Sant’Ambrogio, Milano, 1964-1966.

Sant’Ambrogio district was born as a social symbol of a metropolis that between the 50s and 60s was changing rapidly, driven by the enormous demographic growth of the period, and saw the need to build and make available high density social housing in a short time.

The complex was conceived by Arrigo Arrighetti as an introverted, protected and self-sufficient neighborhood, but at the same time ready to dialogue with the reality of the expanding city. To delimit the district were placed eight floors buildings elevated on open porches, in continuous line with sinuous course, which form a curtain and enclose the central space inside, strictly pedestrian, where the collective services of the district are inserted: two kindergartens, the elementary school, shops, the Church and the Civic Center.

The social housing complex contains a unique religious architecture: the church of San Giovanni Bono, which recalls the image of the tent. The façade is entirely made of reinforced concrete and is perforated by a series of brightly coloured glass panels, reminiscent of Gothic cathedrals. Playing on the matter and dimensions, on historical (the cathedral) and symbolic reference (the tent), the architect Arrighetti succeeded in making the church the monumental center of the district.

Photography Matteo Ceschi, Marco Introini and archives

13/12/2024

Sant’Ambrogio District is a social housing complex designed to reflect on the concept of individual dignity and on the intellectual experience of living the places. It is an incredibly underrated place of our city, where concrete becomes poetry.

11/12/2024

Laurie Anderson, Dal Vivo, 1998. The search for an immersion in the drama of a being, confined and almost metaphysical, and its live performance are part of the itinerary of Laurie Anderson who is always interested in focusing on the strong subjects of daily life, capable of involving common sensitivity.

Dal Vivo, curated by the artist and Germano Celant, was a meditation on time and on the image concretized through the telematic transportation of the body of the detainee Santino Stefanini from the prison space to the Foundation. Inspired by the story of Stefanini, with more than 20 year prison record and who is serving a thirty year prison sentence, Dal Vivo showed a power that usurps identity, where violence is seen in relation to trespassing and exposure. By combining the
dimension of the condemned with that of the artist, Anderson managed to combine the roles of victim and savior, restore the sense of order against chaos, and restore the creative origin against destructive decomposition. The culmination of the journey is the viewer’s meeting with the ‘live’, though silent, statue of Santino Stefanini, obtained through telematic transmission from the prison to the cultural institution. Thus, Anderson highlights the nexus between incarceration and incarnation, as testified to by the living yet inaccessible figure of Stefanini.

The parallel between technology and imprisonment is central to Anderson’s work. By sucking energy, the prison and technological devices have the task of keeping consciences in lethargy. They upset and cloud the vision of reality, to turn it into a sequence of bloodthirsty ghosts and duplicates that live on the energy of others. Anderson continues to highlight this coercive power, which she can reverse by trying to interrupt the flow of power in favor of a flow of creation.

Photographies by Laurie Anderson, 1998
photo 5 with

09/12/2024

Laurie Anderson, Dal Vivo, 1998 (Fondazione Prada, in association with Milan’s
San Vittore prison). The decoding of the social and existential unease of the drained individual,
such as the prisoner, was shown in Dal Vivo through a process of luminous and optical cloning, at
the boundary between the corporeal and the mediatic. Anderson’s projection of this frozen and
ghostly humanity drew attention to the existence of an unlived reality, which has human and social
qualities to examine and comprehend.

Prison, penitentiary, jail, penal institution, prison house. In Western civilization, there has probably
always existed a building or a construction used to isolate the criminals from the rest of the
society, but probably few know that the imprisonment in such sites, intended as expiation, is a
relatively recent reality that dates back to the end of the 17th century. Until then, cells, bars and
security doors were only used as a precautionary measure to prevent the accused from escaping
the ex*****on of their sentence. The penalty imposed at that time did not consist in deprivation of
liberty, but had other forms such as confinement, exile, forced labour or more severely flogging,
mutilation and torture. It was only around the seventeenth century that more modern and civil
theories of law began to take hold, which manifested the need for less painful and inhuman
punishments.

In 1816, was established a Commission in Milan to carry out a detailed examination of the
conditions of the city’s detention facilities. After learning that the prisons of the Lombard capital
did not meet the requirements of the Savoy Law, the Commission proposed the construction of a
new large prison in Milan, and in 1864 the government ordered the construction of a prison with
cell system. San Vittore prison was to be made up of three bodies: one front towards piazza Filangieri, intended for offices and staff accommodation, an
intermediate one, a third with rays for the cells.

Photographies by Laurie Anderson, 1998

07/12/2024

In 1998 Laurie Anderson electronically transposed the body of Santino Stefanini from San Vittore prison to Fondazione Prada. He was live, free, made of light, more than just flesh and bones. She even lent Stefanini her body, shaped in resin, to let him share his long penal story. That was a statement: art can turn imprisonment into rebirth. Art can be the means to rehabilitation.

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