This book is a comprehensive look of the design by Doriana and Massimiliano Fuksas, a multi-scale and stimulating proposal, produced from their continuous curiosity on the contemporary medium. Our first step is outlining their production in scenography and exhibitions.
Less Aesthetics, More Ethics VII International Architecture Exhibition in Venice, Italy, 2000
unsessantesimodisecondo MAXXI Museum, Rome, Italy, 2006
Beside the eclipse
One sixtieth. A fraction of a second. The idea penetrates within such a little lapse of time. The idea-strenght. Seeing a film backwards, from the end to the beginning; this is the idea of the exhibition at the MAXXI Museum. Starting from the completed work and showing all the preceding phases in reverse order: the first ideas consisting of rapid notes scribbled on any kind of support, the many studio models produced at almost the same speed of thinking, the experimentation of different techniques and diverse materials, from the continual modifications to the point of synthesis, up to when the idea materializes. This is what we want to show, the passage of an idea that materializes in a sixtieth of a second. The exhibition retraces altogether the works carried out by Studio Fuksas, starting from the latest designs and going backwards up to the early projects. Along the exhibition itinerary, visitors can grasp the creative process pervading every single work, from conception to realization. Models, sketches, paintings, photographs and videos show the various stages through which the plans develop.
A Home for All
Deep Purple Triennale_Milan_Italy_2008
Three floors, bright, furnished, with garden. No garage, just an inflatable punt. This is our house for everybody. This is a positive reflection about a too often negative reality. The earth is getting hotter, more discontented, polluted and restless. Unpredictable nature. Sudden waves, drought and earthquakes.
Fuori Salone Internazionale del Mobile, “Bathing in Light” exhibition, “Asia” installation of Turkish marble, Art Garden of Superstudio Più, Milan, Italy, 2013. The goal was to highlight the aesthetic and functional qualities of marble while at the same time bringing the audience to a different experience in the use of this valuable material. The concept focuses on using the architectural sign to turn the exhibition space into a mineral structure. Black marble is used for the floor and side walls, while sheer bright white marble is used for the body of the installation. A precious concatenation of white marble dodecahedra is lifted from the ground, as if to draw strength from it. From a perspective point of view, the installation grows in height with an irregular sinusoidal pattern, almost as climbing along the black marble wall. Sculptural shapes with a geometric design, fractures, cuts, lights pulse and breathe inside the heart of some of the elements that make up the installation, which is conceived not as a mere object of contemplation but as a catalyzing experience. An artistic narration of the mineral world. A cluster of “ice flakes” that dematerialize in light. The installation principle is to bring several parts of product design to life. Every single element can turn into a piece of décor or an external detail; a vase, a chair, a lamp, an adornment for the house.
Colombina Collection Black, white or red melamine tealight holder. Pretty, flexible and fun, completing the â&#x20AC;&#x153;Colombina collectionâ&#x20AC;? family.
Salt & Pepper
Armani Chater House Hong Kong _China_2002
The project for the Emporio Armani in Hong Kong focuses more on voids than on solids. Fluxes, rather than decoration, are the real inspiring motifs. The concept is a development of fluidity, reached by studying the casual motion of visitorâ&#x20AC;&#x2122;s trails as well as by the construction of the exhibition space on the base of such invisible routes. The exhibition area for fashion develops within luminous paths running between two carved, well-lighted glass walls that house clothing and accessories and mirror themselves on a bright resin floor which doubles their dimension and multiplies their reflections. From the Emporio you can have direct access to the restaurant, characterized by a red varnished stripe that starts from the floor, lifts up to form a table, descends again to accommodate the restaurant space, then closes and intertwines to become the counter, and eventually forms a tunnel/spiral which draws the space up to the hall. The fiberglass stripe is 105 metres long, 8 metres high and 70 centimetres wide (they are two stripes joining and merging together in the centre of the hall). Thanks to translucent walls, with a changing chromatic and luminous intensity, the atmosphere within the whole restaurant area is different throughout the day.
Armani Ginza Tower Tokyo_ Japan_2007
Chairs, Tables, Benchs, Handles, Wall Units, Lamps, Porcelain Sculptures, Pavements, Coffee Machine, Chandelier, Carpets, Mirrors and a nice Jewellery Collections, the Design of Doriana and Massimiliano Fuksas fill the second part of this book.
bea office chair
for Luxy, 2006
a i s e r e Th Cof fee r M
for Vic tori aA
ach 3 ine
The espresso coffee machine present itself in a compact volume, as a sculptural object with a geometric design. The supermirror stainless body has been envisaged as a hollow diamond . A precious tool with a charming design, and at the same time simple and functional. A machine allowing ourselves the daily act of enjoying an espresso not only as a pleasant break, but also as an authentic little luxury.
Gipsy Jewelry collection for Sicis, 2013
Objects found by chance, jewels, amulets, memories of distant housesâ&#x20AC;Ś.. each one is a memory, a moment, an affection, secret stories to care for and carry with ourselves, golden jewels made of small glass and precious stones tesserĂŚ.
Creating atmospheres, a combination of objects, colors, materials and sensations. The interior design production by Doriana and Massimiliano Fuksas represent a natural extension of their architectural process of creating spaces.
St. Paolo parish complex Foligno, Italy, 2009
The interior was intended to emphasize the centrality of the Altar, whereas the Baptismal Font and the Ambon are located asymmetrically to the former. The dominant idea is to underline the active role of the celebrating Assembly. The design of the interior and the lighting bodies evokes the idea of essentiality and purity. The sober shape of the oak pews inspires meditation. The religious ornaments made of stone, such as the Altar, the Ambon and the Baptismal Font, are emphasized by the beams of light crossing the monolith both vertically and obliquely. The effect created during the day by the natural light is recreated at night by hanging lights whose angular shape retraces the profile of the openings carved on both volumes. The Master Enzo Cucchi has created the monument â&#x20AC;&#x153;Stele-Croceâ&#x20AC;? for the area outside the Church, a 13,50 meter high sculpture, made of concrete, that also becomes an architectural element. The Master Mimmo Paladino has created the 14 iron sculptures representing the Stations of the Cross.
Refurbishment of the Ex Unione Militare Building Rome_Italy_2013
Shenzhen International Airport Terminal 3_Shenzhen_China_2013
Of Lithuanian descent, Massimiliano Fuksas was born in Rome in 1944. He graduated in Architecture from the University of Rome “La Sapienza” in 1969. Since the eighties he has been one of the main protagonists of the contemporary architectural scene. He has been Visiting Professor at a number of universities such as: Columbia University in New York, the École Spéciale d’Architecture in Paris, the Akademie der Bildenden Kunste in Wien, the Staadtliche Akademia des Bildenden Kunste in Stuttgart. From 1998 to 2000 he directed the “VII Mostra Internazionale di Architettura di Venezia”: “Less Aesthetics, More Ethics”. Since 2000 he has been the author of the architecture column - founded by Bruno Zevi - in the Italian news magazine “L’Espresso”. He is the recipient of several prizes and awards, including the “Légion d’Honneur” given by the President of the French Republic in 2010 and the “Commandeur de l’Ordre des Arts et des Lettres de la République Française” in 2000. He won the “Grand Prix National d’Architecture Française“ in 1999 and the career prize “Vitruvio International a la Trayectoria” in 1998, Buenos Aires, Argentina. He is a member of RIBA - Royal Institute of British Architects, London, UK -, AIA - American Institute of Architects, Washington D.C., USA -, the Académie d’Architecture, Paris, France, and the Accademia di San Luca, Italy.
Doriana Fuksas was born in Rome where she graduated in History of Modern and Contemporary Architecture at the University of Rome “La Sapienza” in 1979. She has also earned a degree in Architecture from ESA, École Spéciale d’Architecture, Paris. She has worked with Massimiliano Fuksas since 1985 and has been director in charge of “Fuksas Design” since 1997. She has received a number of prizes and international awards. In 2013 she has been appointed “Commandeur de l’Ordre des Arts et des Lettres de la République Française” and in 2002 “Officier de l’Ordre des Arts et des Lettres de la République Française”.
Studio Fuksas, led by Massimiliano and Doriana Fuksas, is an international architectural practice with offices in Rome, Paris, Shenzhen. With built projects across Europe, Asia and North America, Studio Fuksas is characterized by an innovative approach as well as interdisciplinary skills and experiences consolidated over three decades through the design of: masterplans, offices, residential buildings, infrastructures, cultural centres, leisure centres, retail developments, hotels, shopping malls, public buildings, interior design and product design.
Studio Fuksas main projects include: National Archives of France in Pierrefitte sur Seine-Saint Denis, Paris, France, 2013; Shenzhen Bao’an International Airport, Terminal 3, Shenzhen, China, 2013; Baricentrale, competition won for the redevelopment of railway areas, Bari, Italy, 2013; Moscow Polytechnic Museum, Moscow, Russia, competition won in 2013; New Rome Congress and Hotel Centre, Rome, Italy, 1998 - 2014; Tower for the New Directional Centre for Regione Piemonte, Turin, Italia, 2001 - 2014; Guosen Securities Tower, 2010 - 2016; Rhike Park, Tbilisi, Georgia, 2010 – ongoing; Chengdu Tianfu Cultural and Performance Centre, Chengdu, China, competition won in 2012; Tbilisi Public Service Hall, Tbilisi, Georgia, 2012; Hotel-Business Management School Georges-Frêche, Montpellier, France, 2012; Peres Peace House, Jaffa, Tel Aviv, Israel, 2009; San Paolo Parish Complex, Foligno, Italy, 2009; MyZeil shopping mall, Frankfurt, Germany, 2009; Armani Fifth Avenue, NYC, USA, 2009; Zenith Music Hall, Strasburg, France, 2008; New Milan Trade Fair, Rho-Pero, Milan, Italy, 2005; Ferrari Headquarters and Research Centre, Maranello, Modena, Italy, 2004.
FUKSAS object List of Photographers Studio Fuksas ©Gianni Basso/ Vega Mg, ©Moreno Maggi Less aesthetics, More ethics ©Ramon Prat, ©Biennale Editore 2000 Video-installation 280 x 5 meters, Corderie, Venice Biennale, 2000 Script and Direction: Massimiliano and Doriana Fuksas Filmed and Editing: Studio Azzurro Video Interviews: Filmac Projection with 39 video projectors: JVC La Capsula abitabile ©archivio Fuksas FORMA La Citta’ Moderna e il suo passato ©Eugenio Monti, ©Gabriele Basilico. Advertising “Better Light for a Better Life” ©Agenzia STZ (Advertising iGuzzini), ©archivio Fuksas Unsessantesimodisecondo ©Paolo Riolzi, ©Moreno Maggi Showcase for La Rinascente ©Interni Decode Elements Beside the Eclipse ©archivio Fuksas Multi-Hábitats – La vivienda polivalente ©archivio Fuksas Deep Purple ©Francesco Colarossi, ©archivio Fuksas Napolincroce ©archivio Fuksas Kensington Gardens ©Moreno Maggi, ©Filippo Macelloni (still video), ©archivio Fuksas. Videoinstallation, Scene of everyday life - day inside, Venice Biennale, 2008 Script: Massimiliano and Doriana Fuksas Filmed: Filippo Macelloni/nanof. Photography: Vasi Caplescu Lighting consultant: Speirs and Major Associates, iGuzzini Scenography for Medea and Edipo ©Moreno Maggi ASIA ©Franco Chimenti , ©archivio Fuksas Doriana and Massimiliano ‘s portrait ©Maurizio Marcato E-Li-Li ©Riccardo Bianchi, ©Santi Caleca Tea & Coffee Towers ©Carlo Lavatori Mao-Mao ©Santi Caleca, ©Riccardo Bianchi Colombina Collection ©Santi Caleca, ©Riccardo Bianchi, ©Walter Zerla Zhouria ©Alessandro Milani Baby ©Alessandro Milani Aldo ©Riccardo Bianchi Armani Chater House, Hong Kong ©Ramon Prat Armani Three on the Bund, Shanghai ©Ramon Prat Armani Ginza Tower, Tokyo ©Ramon Prat, ©Giorgio Armani archive Armani Fifth Avenue, New York ©Ramon Prat, ©SAMA-Allan Toft Bibi ©Maurizio Marcato, ©Poltrona Frau S.p.A.
Bea ©Luxy Sit Sat ©Santi Caleca, ©Sawaya & Moroni Carolina ©Pietro Carrieri Carla ©Poltrona Frau S.p.A. Molly ©Baxter Dolly ©Baxter Tommaso ©ZEUS Milano Nina ©ZEUS Milano Bianca e Bianco ©ZEUS Milano Lavinia ©iGuzzini, ©Gabriele Basilico. ©Advertising “Better Light for a Better Life”. ©Agenzia STZ (Advertising iGuzzini), ©archivio Fuksas Zyl ©iGuzzini Moony ©archivio Fuksas Candy Collection ©Luca Casonato Sculpture ©3D Images – Artifoto S.A.S. di Greco Cosetta Pavements ©archivio Fuksas Impronta ©Studio Ciapetti Blue Montains ©Studio ON TIME – Borgomanero, Novara Carmen ©Manital Wave ©Studio ON TIME – Borgomanero, Novara Tappeto Sardo ©archivio Fuksas Silver Set ©Santi Caleca Mumbai ©Castelli Spa Rosy ©Studio Amato Bacciardi Lucy ©Studio Amato Bacciardi Theresia ©Roberto Mazzola Islands – Short Stories ©archivio Fuksas, ©Riccardo Bianchi, ©Carlo Gavazzeni Meflecto – Short Stories ©Riccardo Bianchi Corpus – Short Stories ©Riccardo Bianchi Doriana’s portrait ©Riccardo Bianchi Gipsy Jewelry collection ©Sicis-Thomas Straub, ©archivio Fuksas St Paolo Parish Complex ©Moreno Maggi Hotel-Business Management School Georges-Freche ©mydrone, ©Moreno Maggi, ©Sergio Pirrone, ©archivio Fuksas National archives of France ©Philippe Ruault, ©Kamal Khalfi, ©Roland Halbe Refurbishmente of the Ex Unione Militare Building ©Gianni Basso/ Vega Mg, ©archivio Fuksas Duomo Tube Station ©archivio Fuksas Is Molas Golf Resort and Hotel ©Stack Studios, ©archivio Fuksas Requalification and Expansion of Thermal Complex ©archivio Fuksas, ©Speirs and Major Business garden Warszawa Hotel ©archivio Fuksas Shenzhen Bao’an international airport ©archivio Fuksas
FUKSAS object Book credits
Publisher Actar Publishers, New York Graphic design Ramon Prat Marga Gibert Nuria Sabán Acknowledgements Federica Provaroni Farshid Tavakoli Tehrani Francesca Montuori Printed by Grafos, arte sobre papel Distribution Actar D 151 Grand Street, 5th floor New York, NY 10013, USA T + 1 212 966 2207 F + 1 212 966 2214 email@example.com ISBN 978-1-940291-11-6 © of the edition Actar Publishers NY © of the texts, their authors © of the images, their authors All rights reserved A CIP catalogue record for this book is available from the Library of Congress, Washington DC, USA.