Old constructions, 01 spontaneous and popular origin, are almost always harmonious which is rarely true 01 most 01 the more recent buildings where cement has taken over Iron stone and a professional attitude, often uncaring lor aesthetics, has replaced the practical fantasy 01 ancient bricklayers.
In this way, an old barn with attached stables can easily be translormed into a residential house, rich internally in space and light and perfectly set, externally, amid its lonely hilly landscape. Despite the lact that the originai architecture has not undergone substantial modifications, the construction now looks veri tidy and clean thanks to the addition 01 areai and proper garden.
It has been necessary to almost entirely reinvent the inside in order lor it to take on the appearance 01 a dwelling, without ignoring suggestions offered by its structure and situation. The downstairs floors are covered with irregular hand-made ‘teracotta’ tiles, both the old perimeter and new internai dividing walls are unilormly covered with white rustic plaster, ceilings are covered with deal boarding around originai beams and chimney-pieces have been built into each ground-Iloor room.
As tradition d.ecrees, the ground Iloor is Ior daytime use whereas the upper floor …… is lor the night-time but the single-storey annex nevertheless enables the lounge to be large and comlortable. As the house
is built on uneven ground, one side is semi-buried with the upper Iloor at access-road leve!., so the obviously dark ground Iloor on this side has been made into a basement room. The kitchen, on the other hand, has windows on both sides and contains a pleasant mixture 01 antique lurniture, utensils and equipment. The authentically rusticinspired dpwnstairs rooms include, however, some superflous items such as small murai collections 01 one-time common objects. Old rustic lurnishing models have been respected to a greater degree in the bedrooms which are decidedly sober but not austere thanks to an essenti al dash 01 colour provided by the wroughtiron head to the bed. This soberness is due not only to the small amount 01 space available, vèrtically and horizontally, but also to the sought-after cleanliness represented by rough rustic-plastered white walls and the old wood 01 the lurniture.

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Silvano De Pietri was born in 1944 in Parma where he lives and works.
After some experience in set design and advertising, which continues to deal, from 1972 he devoted himself to painting.
The first to take an interest of his work are critical Cavazzini Gianni and Roberto Tassi, who presents his first solo show at the Galleria in Milan Eidos.
“The young artist takes a realistic analysis of a single theme, repeated and represented obsessed tively: the human figure forced countless twists, standing, and asleep, watched” vojeuristicamente ‘in empty spaces, permeated by a kind of solitude surrounded by emulsion blue, blue and gray that surrounds and inspires a feeling fabulosa, almost unreal “(R. Rates).
“The silence, the shadows, the rarefied atmosphere” (M. De Micheli) early work, with particular attention to the crude, knee, side, between shadow. Blades remain in the research of De Pietri.
From ’75 on, change themes, but the ways and means: the features and the disintegration of human tissue replacing the glow of the metal “objects machines. This work eventually becomes so to become hyperreal representation of themes dream slipping ¬ not the banality of everyday surreal universe of the unconscious. From the depiction of violent drama and outer bodies pale and contracts, De Pietri induces subtle and hidden anguish of mechanical, awakened by sharp knives, threatening, which are nothing if not evidence of an innocuous opener. But the mystery continues in the papers presented at the end of 81 Gal ¬ Valeria Councils of Parma, in which an object of metal, as a measurement instrument with rankings, is repeated and multiplied in an aseptic space and white, showing many aspects without repetition and, indeed, being able to think of different forms, inspired by several models (V. Sgarbi). The technique preferred by the artist becomes graphite on paper reducing space and color to the conceptual rigor of white and gray, but rediscovering the softness of the gradient, the chiaroscuro in the style of the classics. Recent work, which will be the subject of another exhibition at the Gallery Tips, irreducible to depict everyday objects, entities unrecognizable, small forms, which is due to abstraction, which limited support from space expanding in the setting of a hypothetical theatrical environment as ar ¬ galactic architecture of an imaginary future.

It erects a temple to the idea of measuring and drawing. A classical structure, but with the thickness of a scene by scene. The obvious science fiction plays in favor of building the instrument, a
macro-cornpasso guarding the door, behind which is not sensed the limits of an interior, but the nebulous space and boundless imagination.

Villas, villas! Small villas with eight rooms two bathrooms; princely villas – forty rooms large terrace over the lakes, sweeping view of the Serruchon – vegetable garden, orchard, garage, caretaker, tennis, drinking water, cesspool – more then seven hundred hectolitres – south or soutwest exposure, protected by elms or the age-old shade of the beech hostile to the northerly and the pampero, but not the monsoons of rnort¬gages that also blow full blast on the morainic amphitheatre of the Serruchon and along the poplar groves of El Prado.
Villas! Villas! Full villas, isolated villas, double villas, villa hous¬es, rustic villas, villa outhouses – the “pastrufaziani” architects had little by little embellished with villas ali the placid gentle hills of the pre-Andean slopes, which naturally “slope down gently” to the mild basins of their lakes.
In his “Acquainted with grief’, Carlo Emilio Gadda seems to adequately convey the lively and caustic spirit of natives of Brianza, loved but equally hated by the “great Lombard” Carlo Emilio. For those unfamiliar with the author or who have never read the novel, a masterpiece of 20th-century European literature, I shall say that it is a family chronicle, tragic but at the same time entertaining, set in areai and vibrant Brianza, in which the piace names are contorted to sound like inventions of South American inspiration. So Resegone, a mountain omnipresent on the Brianza landscape, becomes Serruchon; the town of Erba is changed to El Prado; “pastrufaziani” archi¬tects are those of Milan – after Pastrufazio, Milan. Gadda, an engineer, was particularly against architects and with rationalists, whom he called “quadrangulars” because of what he saw as their habit of building with cognition only of the right angle. Through him I started to notice certain traits in the people of Brianza and to observe with a criticai spirit what I had until then simply accepted as a natural appendix of my environ¬ment and not peculiarities, typical characteristics.
When you are born and grow up in a territory you accept its social context as it is at the moment of your first perceptions, just as a young Eskimo naturally assumes that the world consists in an endless white expanse.
I thought it natural that my first games should take piace in the restricted space between a carpenter’s workshop and that of an engraver, huddled in a small courtyard.
Later on, having permitted myself vaster exploration, it was equally natural to idle the ti me away in the small bronze and brass foundry ten metres from home; or in the inlayer’s workshop, situated just a little farther away, next to the door of the chair mender who worked on the street.
Much later on I got to know the small universe of upholsterers and mattress-makers who shared a view from their workshops similar to a dental surgery where everything is clean and tiled, and the blacksmith looks suspiciously and with resignation at your muddy shoes. Some know how to turn a wooden stick making a 2-metre hole down its entire axis – straight and precise. And only they know how. Some can cut, curve, grind, engrave, colour, sand and etch glass … and goodness knows what.
Just as the young Eskimo comes to realise that the world is not an endless blinding white expanse, so I realised that what surrounded me was not such a foregone conclusion, i.e. that my rural and steadfast fellow-citizens should be so skilful at treating a material and drawing from it forms of uncommon understanding, grace and gentleness.
Having gained this awareness I have been very careful, since then, not to underestimate the work of the crattsman, because just two houses away I would find another capable of doing the same thing.
No! Because the other one does not know how to do some refinement that this one was able to do so well and vice versa. “If you want something like that, you must go to him, or that other one, but… but… there was a third one … ”
A maze, a headache of deferments and cognitions, of advice and more deferments, of memories that lead back to the grandfather who had found a solution, to the uncle who supplied the seats for the Titanic, the great-uncle who furnished the Peruvian embassy, the great-great-uncle who worked with Terragni, Ponti, Basile, with … stop!
In a basement you would find an unassuming little man who said: “You do it like this!” … gosh! That is exactly how it should be done, there was no other solution.
Ali this has not disappeared today, it is only more sublime. Their children, their grandchildren work with numerical control machines that they know well and handle as well. As their grandfathers knew how to handle their archaic tools, so they know how to intelligently use the tools made available to them by the new economy.
Some have the latest pantograph and show it to you as if it were a child. Some have a laser cutter that leaves no burrs. Some have installed in their workshops a matching-machine that is “unique in Europe”, well perhaps there is another like it “but only in Germany”. Some have a glass-tempering system that “you just must see”.
Then, in a basament, you find a young boy who has developed his own work method that…

One Saturday afternoon twenty-five years ago I was, as on other occasions, rummaging in the wooden trunk we kept in the old workshop. It had belonged to my father Giovanni and my grandfather Filippo, the founder of Medea, which at that time was called Tagliabue. The workshop was in Meda, in Piazza Cavour, in the courtyard of the “Fratit”, thus called because some centuries earlier it had been a convent.
The trunk contained drawings of furniture, estimates and old photographic catalogues of chairs and armchairs that my grandfather made for customers in Milan. My curiosity was aroused by a letter containing an order for twelve chairs and four armchairs from a certain Ducrot of Palermo, with a branch in Milan. A craftsman of Brianza, my grandfather, work¬ing for a firm in Palermo, in 1915 – incredible!
I made enquiries. It was a large firm with more than three hun¬dred workers that made interiors for ships, hotels, villas …
At that time I was always on the look out for English furniture sold by collectors and antique dealers because that was the most popular style of the moment. Shortly after my trunk dis¬covery, I was in an antique dealer’s in Vercelli where, hidden behind a mass of furniture, I discovered a whole bedroom in light maple, manufactured by Ducrot and designed by Ernesto Basile. I took it back to Meda. Cesare, Enrico, Filippo (my brothers), Giuseppe, Cleto (my assistants) and I, fell in love with this fiorai style. It highlighted the cabinet-making and artistic skills that only a few craftsmen could reproduce. We started our search for the most interesting Art Nouveau pieces and made them, with the aid of Professor Eugenio and Mr Gianni, whose contribution was fundamental to the definition
of the prototypes. The ~ncounter with Carlo Amadori, creator of “Abitare il Tempo”, and Gian Domenico Salotti, professor at the Milan Polytechnic, enabled us later to produce other re¬editions of that period that alone we could never have man¬aged. This book contains some examples of our collaboration with them, which was of the greatest professional and cultural importance for uso Over the years we have also produced some pieces of periods that came after Art Nouveau, ali hav¬ing extraordinary manufacture and fruit of a totally personal taste. I would like to express my undying thanks to ali those who have helped us over the years in our research and exper¬imentation. As well as the aforementioned Carlo Amadori and Gian Domenico Salotti, Annibale Osti, Franco Raggi, Daniela Puppa, Ugo La Pietra, Anna Maria Fundarò of the Faculty of Architecture of Palermo, Luca Scacchetti and Patrizia Scarzella.

The four new collections designed by Malerba da Busca for Colombostile fully mirror the aurhor’s philosophy and the Firrst’s reserved manufacturing skills.
Marie-Hélène, Esmeralda and Sera, collecrions designed for the living area number tables, chairs, armchairs, carpets and lamps characterised by the expert use of precious materials, like complex marquetry work in rosewood and briar wood for table tops, sculp¬tured solid wood legs for rables and chairs, gold leaf finishes, hard storie inserts and Medicean stone decorations, which enhance and ensure each irern’s value and uniqueness. Compositive solutions achieved with iterns in these collecrions create luxuriously sophis¬ricated environments and, even a single piece’s impressive stylish features make it the protagonist in every context.
The same characrerisrics are also found in furnishings designed for the night area. The Tchaikovsky collecrion offers borh single and double beds, chests of drawers and dressers, mirrors, shelves, small tables, dormeuses, small armchairs and a collection of table lamps. Beds with magnificent headboards are che collection’s most impressive elernents: sinuous baroque shapes are sculptured and coated wich gold and silver leaf co create the frame for soft but¬toned upholstery, Dresses and chests of drawers are finished with silver leaf and, their ornamenral front displays the originai use of diamond cut crystal with a chinchilla effect. The same style is found in furnishing accessories: polished brass and wood lamps are enhanced by sophisricared lampshades, rnarquetry that blends various wood rypes and Medicean stone decorations.
The textile elernenr plays a leading role in alI three collecrions: che choice of upholsrery falls on exclusive fabrics with highly refined colour combinations, decorations and quality tailoring rhat highlighrs rhe handcrafted details of every piece.
Giovanni Maria Malerba da Busca’s creativity and Colombostile’s professionalism successfully converge ro create a project in progress charged with strong entrepreneurial, cultural and stylis¬tic contents.

Agostino Pisani is Ligurian: born at Savona on the 2nd of September 1937, he did not undergo regular studies but, at the tender age of fifteen, went to learn a “trade” at the studio of the sculptor and ceramic artist Antonio Siri at Albisola Mare. During the 1950s, Albisola was an important piace on the route of many avant-garde artists: Lucio Fontana, Asger Jorn, Agenore Fabbri and Aligi Sassu who used the kilns for making ceramics. Art exhibitions commenced and later abounded in the coastal areas. It was therefore in this context that Pisani had his first experience and began to acquire a public. He met Piero Manzoni and moved to Milan where, in 1960, he took part at the Azimuth group exhibitions. Two years previous, Carlo Cardazzo, a Venetian dealer and above ali a sensitive interpreter of new artistic lalent saw his works and organized a personal exhibition for him al the Cavallino Gallery. Pisan has been insisting on real and everyday themes for his work since 1965: he prefers wood and bronze, combining the two materials or choosing Ihem according to the subjecls dealt with. After seeing this artist’s production, Mario De Micheli took aclive interest in his work, inviting him to colleclive exhibitions, introducing him al personal exhibitions and enabling him to become part of the small number of artists who represented the embryonic stage of a new figurative realism in Italy. In’1974, Pisani’s name appeared in the Bolaffi catalogue for the first time. During Ihe 1970s. the sculptor perfected his very personal narrative about everyday objects, often side by si de in. small compositions withtools for land “and sea. The starting point is always a recollection. an everyday affection . Later, Pisani turried his attention to two rnasters of tlle past, Benedetto Antelami and Paolo Uccello, Sorryjng out a senes dedicated to them. In recent ears, after a vibrant series ot sculptures inspired by the terribly bloody Fascist massacres, he went back to studying everyday happenings, reconstructing objects. intellectually conceived perhaps but nevertheless carefully considerèd in depth. His latest achievement is a personal reflection of a work. or rather some Iragments of a work, by Albrech Durer, Pisani’s completely concrete and down-to-earth approach regarding the external world as well as the artists 01 the past, enables him lo achieve unedited citations: it is not the centrai subjecl 01 a work which stimulates his sensitivity but a detail, an object. Among, the most important exhibitions, we would mention Ihe following: the collective exhibition cali ed “Arte e mondo contadino” (The peasant’s art and world) at Turin; “Lombardia vent’anni dopo” (Lombardy twenty years later) at the Visconteo Caslle in Pavia; “Genesi e processo dell’immagine” (Genesis and Ihe image process) at the Palazzo della Permanente in Milan and Ihe very recenl “Aspetti della ricerca figurativa” (Aspects of figurative research) at the Rotonda in Via Besana, Milan.

A mix of post-imperial tendencies is what most characterizes this dresser made by Master of Rottofreno Capellini. As with all artistic expressions that have left an indelible imprint in the field of style, even the Empire style, so crucial to the nineteenth century in its proposed new fees essentially has aroused extreme reactions in the period immediately place the following year. But in this case the transition from one style to another is mediated by the spirit inherent to the styles of the nineteenth century: a spirit that has stimulated a taste for “revivalisrno” to the point of stylistic range in ages and assemble different elements in a original review. The peculiarity arises because by imitating the eclecticism that combines processing, fully realized in special creations for their characteristics of conscious and coherent summary of the assembly parts. The significant break with the Empire styles that preceded and is then scaled reported levels of reconciliation with the more recent past. There is almost a synchronistic events go hand in hand with historians of stylistic trends in furnishing field: how the French Revolution and “Cesar” Napoleon had overshadowed and overwhelmed the ethical and political principles of absolute government, so the style Empire seemed worthy of the great revolutionary ideas of 1789.
By the age of the Restoration the forces of conservatism resumed power and restore order before the storm, and Napoleon in the same way in the history of furniture was felt a return to the eighteenth century and beyond, reaching the threshold of the Renaissance. The period of the Restoration, which saw the reaffirmation of the Bourbons on the throne of France, Louis XVIII first, followed by Charles X and Louis Philippe Finally, restore, then set the Second Empire, from 1852 to 1870, forms and decorations
past centuries. The reaction is particularly evident in the rejection of straight lines, flat surfaces, the corners, the absence of Modane ¬ ture. The stringency of predominantly cubic forms of drawers and secreted the wake ¬ place to greater kindness and curvy: returning to soften lines and arround, the structures are less sharp and slightly tapered to weight, strength and carry out tasks soundness demanded by the bourgeoisie of the time.
In the dresser that we present these items are not reflected pie: the mobile is reacialised in burr elm, which, with its marbling creates a chiaroscuro effect of remarkable. The theme of the reframework highlights the various parties, framing both drawers, and side panels with the use of warm tones of rosewood, wood especially popular during the Restoration and Second Empire. A slight thread in a ‘lighter essence puts a greater emphasis on pleasing contrast between the shades of amber and the firmer root of rosewood. The structure is modulated by a continuous opposition of concave and convex areas, which soften the strength el’imponention of the piece: what to combine the advanced front and side panels falling slightly, put more emphasis on the definition of the columns. These, together with the use of bronze in the drawer handles, offer ideas clearly links with the imperial style, but also to the Renaissance, which both took advantage of the architectural motifs of classical civilizations. And perhaps the harmony of form and the strength of formal structure to bring us back to the inspirations of the sixteenth century classicist, corroborated by the feet that support the mobile onion. Ture enhances the shine of polished the piece, bringing an additional note of elegance.

That Italy have been times in history has more aesthetic for importing and exporting the furniture is a fact confirmed more than if you take into account all the various “changes of ownership” that our country suffered when, before ‘ units, was divided into small statelets continually fought among the great European powers. According to the different spheres of influence so the eighteenth and early nineteenth century saw, for example France, Spain and Austria succession to the throne of costume and art by setting an approach to daily life, and even the furniture more or less accepted by the Italian mentality, with more consensus and favoritism for the French taste for Spanish one. The speech in Austria differs somewhat from the other two, because, whereas the mobile style Maria Teresa present today made by a company in Bolzano, Selva, we must not only remember that during the Enlightenment sovereign capital of the high-Adige was still part of the Austrian Empire, but also ruled that the Duchy of Milan, only the first spreading in the area between the Ticino and Adda, then also in the vast Republic of Venice, the types and formal features sober and rigorous craft over the Alps. If however the character of Italian imaginative transposing any creative message to edit it and make something better reflect its sensitivity, with absolutely yes, but illuminated by Maria Teresa, who created the conditions for a revival of intellectual and identified with a lively cultural period, it also paved the way to accommodate more properly related to the stimuli of everyday life. Needless to say, a kind of furniture such as a tabernacle The Truma image and a black g ¬ type settecen tesco refined but without excessive frills could well match the taste of Northern Italy but which, in contact with the splendor of French mobile, was necessarily having to readjust to more simplistic forms streamlining and easing the exuberant decoration. The Truma so concerned in the original version is presented in the finest central European moderation, but with well-defined artistic styles, the first of the inlay, the eighteenth century. As cabinet is characterized by extreme functionality, with over 20 between drawers and drawers, three large in the base, two to define the flap reveals that four plus one compartment and nine When lifting, running around on three sides of the central door with cornice cap. Supported by four feet onions, the piece is made of lime or plated solid alder burl chestnut and walnut, with maple fillets. The decoration, in addition to inlaid fillets that mark the position of the lock cover, handle ring, the rosette knobs and panels of the limelight and dell’antina, relies on the delicate design of the molding that the two sides ends curled inside

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