Ferrillobelli

Casa
Italia
Milan
Ferrillobelli

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

01/11/2024

Milano 2, la città dei numeri uno che non ci serviva.

“Our escape from the city is that of those who seek elsewhere the city, the contact of man with man in ways that are real and not cineraria. It is a journey determined by the necessity of survival. It is a biological journey. Is our escape utopian?” Enzo Siciliano, Milano 2: a city to live in, 1976.

This was the intellectual context in which Milano 2 was born following Silvio Berlusconi’s vision of society. Berlusconi, who was not yet thirty-five years old, had decided to build a new neighborhood, one that had never been seen in Italy before. A model of the city, surrounded by greenery, where you can walk or cycle without any danger, where you can be happy as the families of the movies. The first inhabitants of the complex were called “pioneers”, and “They were usually forty years old and had a couple of kids, and they really felt like pioneers,” says architect Enrico Hoffer, who designed Milano 2 landscapes. Then, came schools, shops, transports, the church, the post office, the bank, the Sporting Club...

“The concept of privilege is a working conquest that can be enjoyed together in the most rational way” said Gianni Brera in 1976. The “privilege” that holds this new community together is described by Brera in utopian, almost Messianic tones: Milan 2 is advertised to the first buyers as a world to come. The neighborhood, in fact, does not organically expand from an existing urban or social fabric; it is a pure idea, built from scratch on agricultural land.

After decades of berlusconism, today the neighborhood seems to have nothing special anymore, because the “form-of-life” of which it was a prototype has now spread everywhere.

27/10/2024

An anthem to light: Jean Nouvel, La Marseillaise, 2006-2018.

In Marseille, Jean Nouvel has created a dramatic, ironic and sarcastic flame, an explosion of light, sun and warmth on the seafront. The building’s skin is made up of the balcony railings and vertical struts superimposed on the plane of the balustrades, enhancing the three-dimensionality and depth of the façade system.

“The building is located in a suburban and popular part of Marseille, where there is a new group of tertiary buildings. It is an architecture with a strong personality, characterized by an obsessive rhythm that develops in the façade in a game of duality between simplicity and complexity. Between the blue reflections that embody the water and the Mediterranean where the city stands, and the red reflections that embody social tensions.”

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25/10/2024

Jean Nouvel. The Pritzker-prize-winning architect and designer Jean Nouvel has established his status as a world-renowned star architect, but the foundations of such evolution are firmly rooted in the French context.

Nouvel became an active part of that political and cultural Parisian network structuring the architectural debate and practice through the years following 1968. His figure evolved by joining the wave of the nouvelle architecture française during the Mitterrand era in the 1980s, aiming to bring France to an avant-garde position through a mixed effort in technological research and attention to the urban context: in such scenario, Jean Nouvel would stand out as a free subject, giving value to the relevance of expressive aspects of construction technologies, of the high-tech languages of that period, creating highly iconic machines combining into systems a multiplicity of different linguistic components of architecture.

1. Le Granit Theater, Belfort, France, 1980-1984
2. Nemausus, Nimes, France, 1985-1987
3. Institut du Monde Arabe, Paris, France, 1981-1987
4. Tour Sans Fins, Courbevoie, France, 1989-1992 (unfinalized)
5. Apartment Bailly, Paris, France, 1989-1991
6. Opera national de Lyon, Lyon, France, 1986-1993
7. Fondation Cartier pour l’art contemporain, Paris, France, 1991-1994
8. Galeries Lafayette, Berlin, Germany, 1991-1996
9. Fondation Cognacq-Jay, Rueil-Malmaison, France, 1995-1999
10. Palais de Justice, Nantes, France, 1993-2000

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23/10/2024

My place in Paris is very close to Jean Nouvel’s office. Actually we are neighbours. There’s something that I immediately remarked: he never defines that building as his office or agency or even his studio. Nope. AJN means Ateliers JN. Ateliers. And his words are as meaningful as his thin beautiful lines or his incredibly wise use of colours.

21/10/2024

Legendary but never built.

A history of architecture could be written solely starting from buildings that never left the “paper world”, remaining in the virtual dimension of representation.
Some modern masters, from Le Corbusier to Mies van der Rohe and Frank Lloyd Wright, have revealed the most significant aspects of their philosophies through unbuilt architecture, translating artistic movements into executed artifacts, challenging the possibilities of rapidly advancing technology, and reinterpreting contextual elements in new architectural forms.

1. Frank Lloyd Wright, Mile-High Tower, 1956
2. Antoni Gaudí, Hotel Attraction in Manhattan, NY, 1908
3,4. Adolf Loos, competition proposal for the new Chicago Tribune headquarter, Chicago, 1922
5,6. Mario Palanti, L’Eternale or Mole Littoria, Roma, 1924
7. Frank Lloyd Wright, Masieri Memorial on the Grand Canal, Venice, 1953
8. Buckminster Fuller and Thomas C. Howard, Manhattan Dome, 1959
9. Cesar Pelli, Indiana Tower, Indianapolis, 1981
10. Paul Rudolph, Sino Tower, Hong Kong, 1989

13/10/2024

The pool as physical and mental space.

Water has long been associated with relaxation and healing. The mere act of being near water, let alone immersing oneself in it, can have a profound calming effect on the mind. This phenomenon, often referred to as “blue mind,” highlights the meditative and calming effects that water bodies have on our mental state. Swimming pools, therefore, are not just for physical exercise; they can be a sanctuary for cognitive rejuvenation.

It was in the late 19th century that private pools first began to appear — like the movies, they’re synonymous with modernity — but initially they were purely the affair of the extremely wealthy. For everyone else, the hygienist craze for swimming was satisfied by the building of collective, public pools. But after World War II, initially in America but soon the world over, the golden age of the personal, private pool began.

1,2. Robert Mallet-Stevens, Villa Noailles, Hyères, 1929
3. Oscar Niemeyer, Villa Nara Mondadori Saint-Jean-Cap-Ferrat, 1968
4,5. Alain Capeillères, Le Brusc, Six-Fours-les-Plages, 1970
6. Luis Barragán, Casa Gilardi, 1975–1977
7. OMA, Villa dall’Ava, Saint-Cloud, France, 1984-1991
8. Jean Nouvel, Les Bains des Docks, Le Havre, 2004-2008
9,10. Act Romegialli, La Piscina del Roccolo, Italy, 2015

06/10/2024

2019 - Moschino Showroom Milano

Contemporary materials and iconic elements to highlight the brand’s explosive creativity. A 1,200 square meter space has been designed in the center of Milan to accommodate the prestigious brand’s sales campaign within a firmly contemporary setting. The use of aluminum for the furnishing elements, exposed technical features as well as the lighting system contribute to create an atmosphere of vital relevance.

03/10/2024

2019 - Moschino Showroom Milano

Based on the concept developed for the Moschino boutique, a 1,200 square meter space has been designed in the center of Milan to accommodate the prestigious brand’s sales campaign within a firmly contemporary setting. The highly recognizable entrance leads to the sales area which is organized on two levels.

30/09/2024

Contemporary materials and iconic elements to highlight the brand’s explosive creativity.

23/09/2024

Making of Manuel Ritz and Paoloni corners at La Rinascente, Torino.

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18/09/2024

Commercial corners are often entrusted with the visibility of the brand and the ability to communicate its identity in an innovative way to achieve market success.

07/09/2024

The Loma, Milano.

For the renovation project of an early twentieth century residential building in Milan, curated by Roberto Battistello’s studio, FERRILLOBELLI designed highly representative interiors, including the spa. The result is a luxurious and intimate space with an accurate selection of materials: black granites and natural woods combine with a soft lighting scheme to create a complete sense of relaxation for both the body and soul.

Photography

05/09/2024

Very often, SPAs are associated with luxury and economic power, but I believe architects should design these spaces thinking about the human body as the temple of our souls.

30/08/2024

Paulo Mendes da Rocha’s dissident tropicalismo.

“All space is public,” said Paulo Mendes da Rocha, “the only private space that you can imagine is in the human mind.” He has spent his 60-year career lifting his massive concrete buildings up, in gravity-defying balancing acts, or else burying them below ground in an attempt to liberate the Earth’s surface as a continuous democratic public realm. But as he developed his reputation, the Brazilian architect completed a series of private houses including one for himself. Casa Mendes da Rocha (1964) was built alongside a twin house for the architect’s sister in Butantā, São Paulo. Both have modular, exposed concrete structures in what became da Rocha’s trademark style. Another private home built from the bulky concrete forms that he became known for is Casa Masetti, a 1970 house designed for the engineer Mário Masetti. With two outdoor staircases, the São Paulo home’s exterior and interior spaces are closely connected. The Millán House (1970) for art dealer Eduardo Leme is organized around a series of
skylights that illuminate the different rooms; Casa King (1973) sits on eight columns that raise the house above ground level so it is surrounded by the tropical vegetation that grows in the city. Junqueira House (1976) was designed for the prestigious lawyer Antônio Junqueir, while Gerassi House (1988) for the engineer Antônio Gerassi, follows the prefabrication strategy studied by Mendes da Rocha in 1964.

1,2. Mendes da Rocha House, São Paulo, 1964-1967
3. Masetti House, São Paulo, 1969-1970
4,5. Millán House, São Paulo, 1970-1974
6. King House, São Paulo, 1973
7. Junqueira House, São Paulo, 1976-1980
8,9. Gerassi House, São Paulo, 1988-1991
10. Paulo Mendes da Rocha

27/08/2024

Paulo Mendes da Rocha’s dissident tropicalismo.

Blending beautiful, powerful architectural forms while looking at issues of social engagement, Mendes da Rocha turned his hand to anything from private housing, large-scale, public architecture and furniture; always with a profound sense of materiality, and a flair for creating architecture that is both functional and emotive, defined by bold yet sensitive moves. Working mostly with simple, geometric forms in naked concrete, his buildings helped define the country’s expression of the Modernist movement – often referred to as ‘Brazilian Brutalism’. Mendes da Rocha began his career in São Paulo, Brazil, in the 1950s as a member of the “Paulist brutalist” avant-garde. There, his cultural work – such as the Paulistano Athletic Club (1958), the Museum of Contemporary Art (1975) at the University of São Paulo, the Forma Furniture showroom (1987) and the Brazilian Sculpture Museum (1987-1992) – has played a key part in the city’s development and heritage. Further well known designs include the Paulistano chase longue (1957), Casa Millán for art dealer Eduardo Leme, and the architect’s own
home, Casa Butantã (1964).

1,2. Casa Masetti, São Paulo, 1969-1970.
3. Paulistano Athletic Club Gymnasium, São Paulo, 1958-1961
4. Paulo Mendes da Rocha
5. Guaimbê Building, São Paulo, 1964-1966
6. Brazilian Pavilion for Expo 70, Osaka, 1969-1970
7. Brazilian Sculpture Museum (MuBE), São Paulo, 1988, completed with Burle Marx
8,9. Renovation of the State Museum of São Paulo, 1993-1998
10. New National Coach Museum, Lisbon, 2008-2012

24/08/2024

“The transformation of nature, a total fusion of science, art and technology in a sublime statement of human dignity and intelligence through the settlements we build for ourselves.” Paulo Mendes da Rocha

Paulo Mendes da Rocha was one of the architects whose work has opened new trajectories in the
contemporary landscape of Brazilian architecture. His was not an obedient architecture, but rather a dialectical and didactic activity, which presupposes culture and vision, imagination and experimentation, starting from his humanist attitude, which was as urgent as it was forward-looking: “Architecture is a form of knowledge, not just simply the exercise of a profession. What characterises architectural vision is the possibility of imagining a constructed, realised thing. We could say that the architect is a particular engineer and, vice versa, that a good engineer is a
particular architect. In a certain sense, it is as if we were born architects; it is as if humans were
inclined to form their own habitat. The architect’s engineering is linked to human life, to the place
they inhabit. Perhaps architects are the last humanists”. Paulo Mendes da Rocha

21/08/2024

Jean Prouvé (with architects R. Lopez and H. Prouvé), Villa Lopez, Sainte-Maxime, France, 1953.

Architect Raymond Lopez, impressed by the house built in the Lavandou for the Dollander family, asked Jean Prouvé to build him a similar one. Lopez collaborated closely with the Ateliers Jean Prouvé at that time through project such as the building for the Fédération Nationale du Bâtiment. The house, located in the town of Guerrevieille, close to Saint Tropez, was built between 1951 and 1954 on a plan similar to that of the Lavandou Villa. It was designed by Prouvé and constructed by architects Raymond Lopez and Jean’s brother Henri Prouvé.

Mounted within the course of 5 weeks only, the 22 meter long structure consists of a metal framework (metal beams and a ceiling in wood raised on stirrups) and protruding aluminum panels (full and with windows) with thermal insulation. The single pitch roof, the stone North wall and terrace recall traditional Provencal houses. The panels are complemented with pine wood in the living rooms and the bedrooms. The single-storey house opens on a terrace overlooking nature. The ground slab is in reinforced concrete while the roof in corrugated aluminum sheet isolates from the heat. The overhanging roof and the series of windows on the northern façade also ensure a pleasant temperature in all seasons.

19/08/2024

Jean Prouvé, 6x6 Demountable house, CAB Foundation, Saint-Paul-de-Vence, 1944.

In response to an order from the state, at the end of the War, Jean Prouvé began designing temporary houses for the homeless in Lorraine and Franche-Comté. Fine-tuning his already patented axial portal frame, he saw a quick, economical and adaptable solution as an urgent
priority. Designed to be rapidly assembled on the sites of destroyed homes and, if need be, demounted and moved elsewhere, these veritable “architectural feats” were made up of light, prefabricated components of metal and wood. Steel, subject to strict quotas at the time, was reserved for the bent steel skeleton, into which were inserted simple, standardized wood panels.
The roof was of bitumen-coated building paper. Jean Prouvé chose this constructional principle with a view to its application to definitive rebuilding.

A 6x6 demountable house has been adapted into a bedroom with furniture signed Prouvé, and stands outside the garden in Saint-Paul-de-Vence.

16/08/2024

Le Corbusier, Le Cabanon/Cap Moderne, Roquebrune-Cap-Martin, France, 1951.

Le Corbusier always preserved as sacred a full month in August for vacation. After the war he took spending the summer in Roquebrune-Cap-Martin, on France’s Côte d’Azur. There the modernist villa designed by Eileen Gray - Villa E. 1027 - gave him a place to relax and to paint his murals. It was for this small village overlooking the sea that Le Corbusier designed a compact log
cabin - his petit cabanon - where he would live and work each summer until his death. Carefully designed to fulfill his base needs, with dimensions based on his Modulor system, it was built in 1951 by his favorite Corsican carpenter, Charles Barberis, and shipped to Roquebrune for assembly. Many of Le Corbusier’s projects of the 50’s and 60’s were conceived in a prefabricated builder’s shed that he erected a few meters away, in 1954. “I work here happy as a prince, but in the presence of liberty (and therefore happier than a prince).”

So far from being a sinister and soul-less machine à habiter, Le Corbusier’s cabanon is satisfying, subtle and perfect proof of the architect’s essential belief that good proportions and ample light are the constituents of excellence in building. The cabanon inspires contemplation; it is not surprising that the young Le Corbusier studied Cistercian cells. With exiguous resources and minimal cost, the cabanon shows how richly rewarding simplicity can be. Anyone who doubts the scripture of modernism should visit and be promptly disabused.

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14/08/2024

Corbusier’s Cité Radieuse, Marseille, France, 1945-1952.

“The building that Le Corbusier erected in Marseille has reached, with its reinforced concrete structure, its summit. This event in Marseille is the most important one in the modern architectural world. It is in the wonderful French tradition that these technical, economic and social events create monumentum (it is not – meaning a monument made of size – that a monument to be so must not be large, but it must be so in terms of significance and its role in history). It is so for this building, a true monument in the history of French construction and within the overall panorama of
the research into resolving the housing problem in that country.” - Gio Ponti, Domus 242/January
1950

Le Corbusier’s idea of the “vertical garden city” was based on bringing the villa within a larger volume that allowed for the inhabitants to have their own private spaces, but outside of that private sector they would shop, eat, exercise, and gather together. With nearly 1,600 residents divided among eighteen floors, the design requires an innovative approach toward spatial
organization to accommodate the living spaces, as well as the public, communal spaces. Interestingly enough, the majority of the communal aspects do not occur within the building; rather they are placed on the roof. The roof becomes a garden terrace that has a running track, a club, a kindergarten, a gym, and a shallow pool. Beside the roof, there are shops, medical facilities, and even a small hotel distributed throughout the interior of the building. The Unite d’Habitation is essentially a “city within a city” that is spatially, as well as, functionally optimized for the residents.

Photography: René Burri, Cité Radieuse, Children playing at roof terrace, 1959.
Alessandro Arensberg (), Cité Radieuse, 2019.

12/08/2024

“I love the sea, the flat coasts and the plains more than the mountains. The foothills of the Alps, the Alps themselves crush me (…). How much deeper is my feeling for the admirable clock that is the sea, with its tides, its equinoxes, its daily variations according to the most implacable of laws, but also the most imperceptible, the most hidden law that exists.” Le
Corbusier, Modulor 2: Let the User Speak Next, 1958.

It is well-known that Le Corbusier was fascinated by the sea and by ocean liners, seashells, beaches, and the like. He also enjoyed voyaging and looking at the world, closing great distances and gaining new geographic perspectives through the height and speed offered by airplanes. During his travels through Italy, 1907, Turkey and Greece 1911, and later Spain as well as the Western Balkans, Le Corbusier showed his interest for vernacular architecture. This was the beginning of dichotomy between North Europe and south Europe to determine the concept of modernism in architecture and appearance of Mediterranean modernist architecture.

06/08/2024

“I feel that architecture has always been taste (…). I now think in terms of pleasing myself and not reforming society about the impact of my work” Philip Johnson

Powerful and surprisingly long-lived, all along the 20th century Philip Johnson was a protagonist of world architecture. A true star architect, before its time, he was awarded the very first Pritzker Prize in 1979. Through his activity as a critic and a curator, he acted
for decades as a deus ex machina, able to determine the success or the oblivion of this or that designer, this or that movement. Furthermore, the ensemble of his works provides a virtually overarching presentation of all the architectural styles that have come and gone through his more than seven-decade-long activity. It is not by chance if “eclectic” is the most commonly used
epithet when referring to this brilliant, and yet controversial, character.

29/07/2024

Autogrill: infrastructure and icon of the Italian highways.

Starting in 1947, with the first service station near Novara, Bianchetti drew upon the American experiences in service station design and contributed approximately seventy projects to the Pavesi company, including the bridge-type station at Fiorenzuola d’Arda (1959) and the circular-plan building at Varazze (1960). In their entirety, the stations represent icons of the highway, objects of total design where each detail, from furniture to signage to uniforms, gives priority to the image and spectacle. Once a symbol of changing lifestyle and consumption models associated with mass automobility in Italy, which anticipated the inauguration of the Autostrada del Sole in 1964, the service station of Lainate, in a partially demolished state, is a witness today of a different reality; revisiting Bianchetti’s building today, aims to stress the need to critically engage with the relation between the highway environment, infrastructure, and the wilderness.

1, 2, 3, 4. Angelo Bianchetti, autogrill in Lainate/Villoresi ovest, 1958
5. Angelo Bianchetti, autogrill in Varazze, 1960
6. Mario Bellini, Model for Autogrill S.p.A., Milan, 1989

26/07/2024

The bridge-type autogrill, infrastructure and icon of the Italian highways. At the end of the 1950s an architect (Angelo Bianchetti), an industrialist (Mario Pavesi) and millions of Italian car drivers are the protagonists of one of the most brilliant typological inventions of 20th century architecture.

Pavesi builds on the success of its first highway store, opened in 1947 on the Milan-Turin branch, in the vicinities of his Novara factory, commissioned Bianchetti 3 autogrill as circular-plan kiosks. The best, though, is yet to come. In 1959 Bianchetti and Pavesi travel together through the United States, the road trip proves very useful: on December 23rd, 1959, the pair cut the ribbon of the bridge-type autogrill in Fiorenzuola d’Arda, a premier for Europe. While a certain inconsistency exist between different sources, it can be claimed that the typological intuition happened at the same time on both sides of the Atlantic Ocean.

Bianchetti builds 11 bridge-type autogrill, all of them for Pavesi, based on a metal or reinforced concrete structure, and all sharing a similar layout. Retails areas are on the ground floor, while the panoramic restaurant is elevated, as a dramatic belvedere on an artificial landscape made of streamlined chassis and of the smoothest asphalt. The success and imitations of Pavesi and Bianchetti’s bridge-type autogrill multiply in the 1960s. For the quality of the results, it is worth mentioning at least the mottagrill, the product of the consortium between the Motta brand and architect Melchiorre Bega. The series start in 1960 in Cantagallo, to be continued in Limena in 1965-67, in collaboration with Pier Luigi Nervi.

1. Angelo Bianchetti, bridge-type autogrill in Fiorenzuola d’Arda, 1959
2. Angelo Bianchetti, autogrill in Novara, 1947
3. Melchiorre Bega, bridge-type autogrill in Cantagallo, 1961
4. Angelo Bianchetti, bridge-type autogrill in Novara, 1962
5. Pier Luigi Nervi, bridge-type autogrill in Limene, 1962-1967
6. Angelo Bianchetti, bridge-type autogrill in Feronia, 1964
7. Angelo Bianchetti, bridge-type autogrill in Montepulciano, 1968

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Éclats collection x Friul Mosaic “Éclats was born out of a desire to bring mosaic, an ancient and noble technique, to a contemporary dimension, in which I not only propose an entirely new approach to the figurative world, but also push research further afield.” - Fabio Ferrillo Belli #FERRILLOBELLI #MOSAIC

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#Repost @fabioferrillo with @repostapp. ・・・ Almost ready. @offarch_mi for MSGM Riccardo Grassi Showroom #riccardograssishowroom #light #lightbox #art #installation #offarch #ffa #fabioferrillo #mfw

Aurora Borealis

#Repost @andrearatti with @repostapp. ・・・ Amazing new project by @fabioferrillo @offarch_mi with a special soundtrack by me for MSGM at Riccardo Grassi Showroom #auroraborealis #mfw #offarch #ffa #fabioferrillo #riccardograssishowroom