pfc. | 1
2 | pfc.
Giulio Paolini, Letters from Turin, 2008
pfc. Via Podgora 4 20122 路 Milano Italy Phone: +39 0236539081 Fax: +39 0299988190 Mail: firstname.lastname@example.org
pfc. | 3
IN A letter to Alessando 4 | pfc.
2010 Dear Mister Alessandro Mendini, Since some time I was trying to get the right word for writing you. Precisely since when, in Triennale, Andrea Branzi was presenting his new book “Design Portraits”. As a matter of a fact during such an event I listen you to truly fall in with Enzo Mari’s opinion which is rather a sentence to death of the (today’s n.d.r. ) design, of its bankruptcy. I was indeed aiming to convey my enthusiasm, which catchs a glimpse of a phoenix in any heap of cinder, the new in any crisis, a contemporary assuming its own weakness as a challange for expanding culture,knoeledge and sign. I am also convinced, as often Andrea Branzi wrote, that the Italian design is an interesting example of the great energy which cames from incomplete, weak and not basing on as-
suredness but on the countrary opening to the researching into the new and the different. After I had a glance at the set of shelves of my library in vain, I found the words i was looking for in a Cartoon: Ratatouille, where Anton Ego, an authoritative as well as Disneyan gastronomic critic wrote: “In many ways, the work of a critic is easy. We risk very little yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face is that, in the grand scheme of things, the average piece of junk is more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. Last night, I experienced something new, an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau’s famous motto: Anyone can cook. But I realize that only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau’s, who is, in this critic’s opinion, nothing less than the finest chef in France. I will be returning to Gusteau’s soon, hungry for more.” Finally, Togehter with my best whishes that you may to bare the new and to defend it in a such context of fastest, deep and global transformation, whic is economical, social and cultural, I need just to add the point. Published by Domusweb.it on May 15 2010 Pagina Accanto: Ego © Disney Enterprises, Inc. and Pixar Animation Studios pfc. | 5
INDEX 04 A letter to Alessandro Mendini 06 Index 08 About and philosphy
Portfolio Selected works 1996-2012
14 Product design: Liconi by Alessi, 2012 Petits meubles pour Pascale Moussard, 2011 Andrea and Lawrence, 1998 Python by Trussardi, 1998 44 Architecutral projects concepts and competitions Villamoda, Shuwaikh State of Kuwait, 2001 Sport Centre and shopping mall, Safat State of Kuwait, 2006 L.D.V.I. Mall, Pieâ€™n Polus South Korea, 2008 Driade design outlet, Fossadello di Caorso, Italy, 2012 70 Urban requalification projects: New Town, Padova, Itay, 2009 Waterfront, Bexhill United Kingdom, 2009 84 Country houses Country house, Ziano Piacentino, Italy, 2008 Caâ€™ del Vaj, Ziano Piacentino, Italy,1996 102 Modern Islamic bourgeois House 1, Kuwait city, State of Kuwait, 2012 House 2, Kuwait city, State of Kuwait, 2012 114 Interior projects and concepts: Luminal, Milano, Italy, 2005 Babochka gallery, Saint Petersbourg, Russia. 2006 Via Mora house, Milano, Italy, 2004 Via Casale house, Milano, Italy, 2006 Burgan Bank new branch, Kuwait city, State of Kuwait, 2012 Kuwaiti shop, Al Hamra, State of Kuwait, 2012 Allegri flaship store, Milano, Italy, 2008 Gentryportofino flagship store, Milano, Italy, 2013 Maurizio Pecoraro flagship store, Milano, Italy 2014
6 | pfc.
165 More about Biography Bibliography: articles on Domus Press and awards
pfc. | 7
PHILOSOP About and Philosophy 8 | pfc.
pfc. is an international partnership practicing design, architecture, urbanism, and cultural analysis. It was established in Milan in 2001 challenging clients and authorities to ensure that good design is valued economically, socially and environmentally. Activities include undertaking professional services, research, publishing, and holding lectures. pfc consultantsâ€™ team has been selected for high skills and experience of each member. They work closely with academics so as to produce high-quality, rigorous research that will be widely disseminated as well as to help define and then deliver to our client the best long-term solution for their organisation, one that will fulfil all the original aims and requirements of the project. Our practice is committed to design excellence and customer service. Design is research, Architecture is a political issue. Both affect peopleâ€™s lives: how we live, how our children are taught, how we are treated when we are ill and the quality of our neighbourhoods. In history every human settlement has always had a peculiarity of its own. Maybe it was the slow pace of realization that brought with it a spatial intention, high, radical, and naĂŻve: human settlements had to respond to common and recognized feelings and were meant to cross several generations. Therefore the challenge that urban designers have to face at present is the search of a new urban balance between single unrelated buildings and the need to give form to places by bringing the multiplicity to a whole. The singularity of volumes and spaces has to be reconsidered within a continuous urban texture: the attention to common space and its form is the key that will overcome the present incoherence of contemporary human settlements. pfc intends to operate in this frame of ideas, taking advantage of the different cultures of its members in order to reach a optimal integration of cultural patterns and therefore a specific ability in answering to the over mentioned challenge.
PHY Published by Domusweb.it on May 15 2010
Beside Page: Claire Fonatine Passe-partout (Glasgow), 2004-2010 Courtesy the artists and Galleria Tognon Arte Contemporanea, Venice. Photography: Francesco Allegretto
pfc. | 9
Architecture as Peopleâ€™s flag
10 | pfc.
2010 Within the context of the 3rd ESA Sociology of Culture RN mid - term conference entitled Culture and Making of the Worlds at the Bocconi University in Milan, academics and sociologists like Volker Kirchberg, Sasha Kagan or David Inglis who describes himself as a theoretically and historically-oriented cultural sociologist, philosophers like Oleg Koefoed, editors like Carlo Antonelli of Rollingstone magazine, and artists like Howie B and David Haley were discussing about themes like complexity, coolness, art, landscape, ecology, land management, inter-conventionality and autoecopoïesis, as well as about the consequences of the web in our everyday life. They were moreover focusing on the significance of culture for sustainability as well as on sustainability or unsustainability for culture. We start by asking not more than two questions to Wolker Kirchberg, one of the most interesting and representative German Sociologist, who teaches in the United States at the William Paterson Universityand in his country at Leuphana Universität. Pierfrancesco Cravel: Whitin the general context of crisis of the project, how sociology as well as semiology,through your approach, can positively step into a dialogue with architecture since both your case history about Hamburg and Baltimore were demonstrating that weak cities, with less money and power have major chances of solving their own urban problems, which is quite far from the common sense. Shall we use your approach to’ make the project process more authentic?
Beside page: Markus Schinwald, Orient, 2011. Still da video, HD 9 min. Courtesy la Biennale 2011 Austria. © VBK, Wien 2011.
T Volker Kirchberg: It is very interesting that you used the word common sense because sociology always looks at words and somebody used a word like a New Order - which in Italy is also the name of a non costituitional party of the extreme right” n.d.r. -.... Wait a minute I don’t like the words New Order consequently I don’t like the word common sense because it implies that we already know what sense is, what makes sense so that there are some groups in society - most of architects actually work for them - that decide what is common sense and what is not common sense. First of all I love most of the Modern architecture. Yesterday I went to the Triennale and there is an exhibition of the winners of Premio Mies van der Rohe which I visited and I agree with those choices: I like that they gave the first prize to the Norwegian National Opera and all the others buildings, so that it is like a first statement of the architecture: flagships but not only flagships. The NL Architects’ Basketbar, for instance - so that’s why I was so interested in this exhibition - in their project you understand that there was the need of a public air and you could put it anywhere. I like the fact that public spaces that were not used as public spaces any more, or not yet are invented or reinvented by architecture so that you just symbolize that this is actually a place that could be used as a public place. It was not huge architecture but there was just this small important idea that we are planning for the people, to help them find a place where they can get together and communicate. We are not doing it just as a signal or as symbol for the power and for the efficiency of our cities. So what
pfc. | 11
I want to say is that the time of flagship is an illusion of the sociologists who think that urban lives should be shaped by people who live in the other spaces, because it is shaped by the people who have the money and the power, so they create flagships and a flagships development is what makes it so difficult to normal people to live in these cities. So let us finish the statement. I am very schizophrenic on that, on the one hand I see flagships as a twisting on the other hand I like them a lot. pfc.: The German Pavilion in Biennale of architecture was totally dedicated to the German concept of Sehnsucht Coud it be a way of joining some authenticity in designing spaces? w.k.: I am not an architect even if I am very interested in architecture. Anyway Max Weber, made this idea of disenchantment. So we live in a time of modernity, of rationality of efficiency of control of predictabilty and of quantification and this time lets our lifes become more ad more disentchanted...Emotions, all these feelings that are related to our lifes are taking out, are vanishing. I do not want to become religious - I am not at all - but I think that in religion you also find some elements that are illogical but that lack of logic is filled with emotions. In architecture you find the same way of this enchantment that you find in our own life. Some times architecture tries to work against that. There are some of the architects who tried a way out of modernity, - some years ago. It was postmodernity - to re-enchant our lifes through architecture, but it doesntâ€™t work like that. The re-enchantment of our lives through architecture in our urban enviroment - I think, the
source for it - happens mostly through old buildings that have been used and restructured by the people who used it. Old buildings today have been rebuilt by major architects. I mean our old industrial buildings became shopping malls, the churches became shopping malls or restaurants and so on. This is not what I mean because this has been done by investors. They should look authentic. Authenticity is another nice word for enchantment - but the purposes remain that they are profit oriented, which are purposes of modernity, of rationalisation, of making money. And now I am coming to what I was telling yesterday in Bocconi University, when I talk about those old delimited small projects of warehouses in the peripheries of cities and if you allow artists, which I think are the craftsmen of enchantment a vision very far from Bonamiâ€™s disenchantment of yesterday where during the same meeting he presented art as buisness and himself like somebody who deals with money and assholes (good artists in his language) n.d.r. - , if you allow them to create their own lives in these buildings, this is a real reenchantment of this industrial delimited areas. And that is more and more where architecture should go. Baltimore is a good example, Hambourg, Austria, Vienna are good examples of the opposite. They have buildings that they have to rebuild in a major way by major architects with a lot of investments so that people can make money. These are changes that are not generated from inside, and that is not what I want. I want that those old buildings are restructured by the people who live in, I mean they have to be secure but I mean let people to decide what they want to do with them.
Published by Domusweb.it on October 31 2010
12 | pfc.
Tom Sachs a part of a full scale model of ‘unité d’habitation’ Tom Sachs ’mcbusier’ by tom sachs (2002) courtey: Vanhaerents art collection, brussels
Andro Wqua, Pink Wave Hunter. 2010-2011 Installation, 15 sculptures on a pedestal. Courtesy la Biennale 2011
pfc. | 13
DE GN 98
14 | pfc.
ESIG 2015 pfc. | 15
16 | pfc.
ICONI pfc. | 17
18 | pfc.
pfc. | 19
20 | pfc.
pfc. | 21
22 | pfc.
pfc. | 23
photography Francesco Mattuzzi
24 | pfc.
photography Francesco Mattuzzi
pfc. | 25
“In recent years design has moved forward by reproducing itself, as if the world didn’t exist. It looks into the mirror like Narcissus. In so doing design has reached a very high level of saturation and perfection; always elegant, intelligent, and sophisticated. This road could carry on to infinity, but nowadays it doesn’t lead anywhere... Its selfreferential language no longer has any connection with the world around it; with history, life, and love or even with geography and Alpine lakes. This tray by Francesco Cravel for Alessi seeks to break through this isolation. In fact, it is not an object but rather a segment of land, a narrow Alpine valley at the bottom of which lies Liconi Lake; a small lake in which design can observe its own reflection and, like Narcissus, run the risk of falling in and disappearing...” Andrea Branzi
26 | pfc.
Pierfrancesco Cravel and Marco Ruschetti in Alessi factory, photography Armin Linke
pfc. | 27
28 | pfc.
Liconi Lake, photography Armin Linke
pfc. | 29
Liconi Surface con vista from Mont Blanc To Gran Paradiso
Liconi is a tray, table centrepiece and bowl made from stainless steel mined from the area around its namesake, high altitude glacial lake facing Gran Paradiso in the Mont Blanc Mountain Range. It represents the results of a design process similar to that of primitive man who, not having to depend on his choice of aesthetic criteria, looked for items that could be useful to him in nature and turned them into everyday objects such as arrows and axes. Unlike natural materials gathered by our Neanderthal ancestors, Liconi is a natural shape, digitally cut from its context. It is therefore a pure geographical surface derived from a stereoscopic satellite shot of the lake that is situated 2555 metres above sea level approximately 4 hours walk from Courmayeur or Morgex. A sophisticated geographical surface, pressed and forged from a flat steel sheet 18/10 with the skill and competence of the Alessi technicians who accurately reproduce a piece of the Liconi landscape on scale 1:2193 and transforms it into a table centrepiece. The stretch of water, the planes and the jagged edges of the mountain range are reflected in the design of the object. The three dimensional formation of the landscape is an abstract object that represents, in an instant,
30 | pfc.
the maximum point of equilibrium reached by the forces that constantly shape the earthâ€™s crust: a seemingly eternal shape but in reality very fragile and destined to change at any moment. This is indeed the profile of Mont Blanc rising and shrinking due to the ever changing winds, snow and sunshine. These changes are undetectable to the eye but are no more less significant than those that can be seen immediately from a volcano or a tidal wave. These project trays explore a new and contemporary relationship between object and place, investigating how technology is changing the perception of the landscape as the use of the latter can influence the way of looking at it similar to how or if climate change can also be a resource. Today we know nature in an electronic format; from three-dimensional maps enhancing reality like Humanists knew their classics through the medieval copies kept in their monasteries. Through an ever increasing mass of digital data , we now have the opportunity to know our neighbourhood, the lake in the mountain and craters on Mars, and hence live in unknown and inaccessible worlds, with the same accuracy as the world we know and live in. This tangible reality that we
Darren Almond Between Here and the Surface of the Moon 2011 33 7/8 x 24 7/16 in. (86 x 62 cm) Cast bronze
call nature will eventually exceed the historical boundaries of experience of the individual and society as a whole. Although Nicholas Negroponte would have argued the reverse process in his book “Being Digital”, the steel tray is a digital form that has returned to being analog and real, a collection of particles that have returned to atoms. Liconi preserves its past and part of it will continue to live on the web: a QR code and a URL are engraved on the surface of the object providing access to the non-analogical - a project realised in conjunction with the Valle d’Aosta region. These traces that fuse together atoms and particlesboth components of the object, refer back to the website www.alessi.com/liconi where you can also see a short film “Mermaid’s Night” by Virgilio Villoresi and documentaries by Armin Linke, writer of the film “Alpi” and Francescso Mattuzzi who describes and tells us about the lake.
Nine items progressively numbered 1 to 9 together with information on the design project and images by Linke will be sent to Museums and Art Collections after Duchamp turning a massproduced object (and not an objet trouvé) into an industrial sculpture. L’opera sarà anche esposta in modo permanente presso il Castello Gamba, a Châtillon in Valle d’Aosta, e presso il museo Maxxi in Roma. Pierfrancesco Cravel
*Source: Dati matriciali del Modello Altimetrico digitale della Regione Valle d’Aosta Art N. 1386 del 04.01.2010.Liconi cen Liconi Cententerpiece made by Alessi photohraphy Francesco Mattuzzi
pfc. | 31
Petits meubles pour Pascale Mussard 32 | pfc.
I designed a writing desk, a small table and a consolle for Pascale Mussard, who was trying to introduce the recycling into the luxury, that is the possibility of using waste matter form industrial manufacturing, apparently two worlds in contradiction. Modern luxury is “reinvention,” says Mussard, whose current project is a decidedly upscale take on recycling: skins that used to be discarded because of tiny flaws and leather leftovers will be remade into objects of beauty. Going through the work of Tony Cragg, who transforms garbage into artwork, I tried to use the contemporary art itself as raw material. The planes of the pieces of furniture are the theoretical cut of “Sculture di linfa” by Giuseppe Pennone, two big log made of leather exposed at the 52nd International Art Exhibition Biennale di Venezia. These hand crafted pieces of furniture, produced in few pieces, allow Hermès craftsmen to transform flaws of the waste matter from leather manufacture into the imperfections of the nature they try to imitate.
pfc. | 33
34 | pfc.
pfc. | 35
Giuseppe Penone, exhibition held at the Padiglione italiano during the 52nd Esposizione internazionale dâ€™arte, La Biennale di Venezia, Venice, Italy, June 10-Nov. 11, 2007.
36 | pfc.
pfc. | 37
38 | pfc. 09
Andrea and 1998 Lawrence
Prototypes, modular sitting system designed with Andrea Branzi for Lawerence Steele house an thed for driade. Ph.: Francesco Bolis
pfc. | 09 39
40 | pfc.
pfc. | 41
42 | pfc.
Tussardi Python Protoype snd gentype of Trussardi Python essence - Photgraphy Francesco Mattuzzi
pfc. | 43
DAAD Dantone profumo The solidity of the marble, the lightness of the crystal, the fluidity of the silver, the sensual elasticity of the leather. The smooth surfaces of cylindrical shapes and of faceted irregular pentagons, add and overlap in the designs of bottle and box, like the ingredients of a sumptuous visual and tactile alchemy. Exceptional shapes, weights, textures containing the fragrance created for DAAD Dantone by Meo Fusciuni. Immaterial evocative smell of wood and incense, natural spots and odorous landscapes, made of archetypal essences, aromas of memory and ancestral scents. Sunlight and nocturnal, fragrant and fortified notes in a perfect balance build an harmonious olfactory architecture, a pyramid of faceted sensations and poetry. The fortuitous result of the encounter in Via Santo Spirito between Giorgio Dantone, Meo Fusciuni and Pierfrancesco Cravel. Three modern dreamers, an experimental entrepreneur, a scent creator and an architect, together for over a year seeking the elusive essence of things: Milan, the old family tailorâ€™s shop, its smells, memories and the assiduous search of contemporary cuts abstracted in a perfume, intangible form of the aesthetics and history of Dantone.
44 | pfc.
pfc. | 45
arc arch 962014 46 | pfc.
chit hite pfc. | 47
2001 Shuwaikh State of Kuwait Villamoda Luxury Mall
Architect: Pierfrancesco Cravel Engineering: Favero 6 Milan General Contractor: Gulf Consult Client: Green Cedars Photography: Johnatahan De Vilierss
48 | pfc.
pfc. | 49
50 | pfc.
Grand opening, photography: Johnatahan De Vilierss
pfc. | 51
52 | pfc.
Villamoda main entrance. On the left: outdoor lighting concept.
pfc. | 53
54 | pfc.
pfc. | 55
56 | pfc.
pfc. | 57
Villamoda ground floor plan
58 | pfc.
“ (…) the trend was now in full swing, and the pursuit of a new architectural language for the luxury, shopping and leisure facilities, and a new residential and office space dimension, couldn’t help but prompt a new kind of observation of occidental modernity, in order to transfer it to the Gulf Coast and transform it into an expression of ultramodernism. In the spring 2001 Majed Al Sabah, the thirty-something descendant of the Emir sheik Jaber Al-Amad Al Jaber Al Sabah, opened the Villa Moda emporium in Shuwaikh, on the sea that glimmers by the coast of Kuwait. With this cathedral of international fashion in the desert Al Sabah wanted to change the notion of the “Gulf States” replacing the traditional association with “oil” with some adjective like luxury, modernity, sensuality, taste. In the hands of the Italian architect Pierfrancesco Cravel the design of Villamoda has developed as a light construction using glass and transparency, a sort of large architectural seashell with rigorous geometry, marked by a series of stainless steel pilasters that glitter like a mirage and like the entire construction in the building light of a desert dune. In the interior, the steel pillars are repeated to mark the paths between the glass cubes that have become boutiques for the world’s leading fashion brands: Gucci, Prada, Bottega Veneta, Salvatore Ferragamo, Fendi Etro, just to name a few, compose the sequence of spaces of this unusual, ultramodern high fashion marketplace.The furnishings of the restaurant and bar by B&B Italia, together with the pieces by Cappellini scattered in the connecting space in a discrete manner, indicate the taste of things Italian in this space fir elite shopping that rightfully assumes its place in the ranks of the new Gulf architecture (…)”
Antonella Boisi, Matteo Vercelloni “Arabian Dream” Interni N. 530 April 2003 p. 290-293
pfc. | 59
Sport centre and Shopping mall 60 | pfc.
pfc. | 61
62 | pfc.
Shuwaikh, Sate of Kuwait Architects: Pierfrancesco Cravel Andrea Bolla Giusepe Galli Engineering: Favero & Milan S.p.A. Client: Sheikh Majed Nasser Al Sabah
pfc. | 63
64 | pfc.
Kuwait sport centre, three dimensional computer- generetated image Views of the interiors
pfc. | 65
Kuwait sport centre, three dimensional computer- generetated image. Pole
66 | pfc.
Kuwait sport centre, three dimensional computer- generetated image Wiew of the interiors
pfc. | 67
LDVI mall Seoul, South Korea Architects: Pierfrancesco Cravel Matteo Alfonsi Alessndro Brancaleoni Engineering: Favero & Milan S.p.A. Client: L.D.V.I. Italia
68 | pfc.
LDVI pfc. | 69
Previous page: Architectural project of sustaineable shopping mall in Pieâ€™n Polus. Existing building shape is proposed entirely covered by local vegetion. This page: Interior concept design
70 | pfc.
pfc. | 71
72 | pfc.
New Town San Lazzaro, Padova, Italy Architects: Pierfrancesco Cravel Alessandro Allemagna Matteo Alfonsi Lorenzo Caddeo Engineering: Favero & Milan S.p.A. Client: Europa Rispsorse Real Estate s.r.l.
pfc. | 73
74 | pfc.
Rob Pruitt, iPainting (Cow), 2009, inkjet print on canvas, acrylic paint, cm. 61 x 41 Courtesy Franco Noero Gallery, Turin.
pfc. | 75
Padova New Town, design concept Architectural, landscape design and urban requalification project of the area â€œPadova New Townâ€? in San Lazzaro, Padova, aimed at the realization of commercial and leisure areas and areas dedicated to managment and tertiary services. The project was integrated with an environmental salvage plan with the establishment of a urban park and naturalistic reserve within a urban context.
76 | pfc.
Michelangelo Pistoletto, Labirinto e grande pozzo, 1969. Maze made of rolls of cardboard Exhibition held at Unlimited, section of Art Basel. 2011. Coutesy Art Basel
pfc. | 77
78 | pfc.
pfc. | 79
Waterfont Bexhill, United Kingdom
Next Wave: Shelter & Kiosk Design RIBA Competition Architects: Pierfrancesco Cravel Alessndro Brancaleoni Lorenzo Caddeo And designed with British artist Richard Wood Engineering: Favero & Milan S.p.A.
80 | pfc.
The design of the shelters is the projection of a seaside landscape: scattered houses under a pine wood at the shore. Like a forest the tree-structures collect energy from the sun and transform it into light and heat for the night and winter. Additionally they protect the promenade from the sun and rain as they can be repeated homeomorphously along the entire promenade. Like stem cells they start an open and flexible system growing and spreading out to generate new overlaying and linked areas by defining new landmarks and mirroring the landscape of the shoreline. The design creates the sensation of (temporary) living at the sea: sound effects, light and heat melt within an abstract house perimeter: a white landscape providing a highly reflective canvas for designed or classical benches as art work - distributed throughout the site.The two houses (shelters) are placed along longitudinal and transversal axes to protect visitors from altering winds. A smaller one is designed in children’s size. The underlying spirit is an architecture in dialogue with its sourrounding landscape, the emotion of the site, its history and stories We worked with a British artist Richard Wood on restoring and redesigning the surfaces of the existing kiosk, located within our architectural pine-wood.“The kiosk has two different aspects: open and working during the summer days or closed and empty during the evenings and bleaker winter months. In summer the doors can be wrapped around the building - disguising the architectural ‘pattern’ and revealing local signs for ‘ice-cream’ etc.
pfc. | 81
Next Wave: Shelter & Kiosk RIBA Design Competition
82 | pfc.
pfc. | 83
Fossadello di Caorso Italy Driade design outlet Architectural and urban requalification project of the industial area no lobre used by Italian design company Driade s.p.a. in Fossadello di Caorso Piacenza, aimed at the realization of commercial and leisure areas and areas dedicated to managment and tertiary services. The project was integrated with an environmental salvage plan with the establishment of a urban park and naturalistic reserve within a urban context.
Architects: Andrea Branzi David Chipperfield Pierfrancesco Cravel Italo Rota Engineering: Favero & Milan S.p.A. Client: Driade S.p.A.
84 | pfc.
pfc. | 85
House in Ziano
Architects: Pierfrancesco Cravel Project assistant: Angelo Garioni Engineering: Crosti Client: Tiziano Gusti Photography: Stefano Pandini
86 | pfc.
2008 pfc. | 87
House in Ziano, cross section and ground floor plan. 88 | pfc.
The project retraces a recurrent form among the oltrepo of Piacenza, a two-floor plant together with a four-floor tower. The residence is realized with a structure of reinforced concrete and upside down girder foundations in order to give more stability to the plant that lies upon clay soil in a seismic area. Outer walls are made of several layers of insulating material and a brick wall made with bricks recycled. Their stratigraphy designed on the inside, tells a story of the building totally invented. The reinforced concrete structure allows the overhanging of the floor of the second floor of the tower that would not be possible were the walls bearing-walls made of full bricks. A window opened at the intersection of the tower with the main buillding underlines the absence of a structure beneath a wall apparently made of full bricks revealing a clue on the real composition on the wall, the reinforced concrete. â€œIn architecture, time does not respect the linearity of the tyrant clock, but rather the labyrinthine paths of the memoryâ€? said Fulvio Irace.
Andro Wequa, Pink Wave Hunter. 2010-2011. Installation, 15 sculptures on a pedestal. Courtesy la Biennale 2011
pfc. | 89
90 | pfc.
Andro Wequa, Pink Wave Hunter. 2010-2011. Installation, 15 sculptures on a pedestal. Photography Giovanni H채nninen
pfc. | 91
92 | pfc.
pfc. | 93
Previous page: Cyprien Gaillard, Angkor Beer Series (working title), 2010 This page: John Divola Los Angeles International Ariport Noise Abatement Zone, Forced Entries 1975-76 1979-80 Next page: Cyprien Gaillard, Rubble and Revelation exhibition featured at Nicola Trussardi Foundation 2012
94 | pfc.
pfc. | 95
96 | pfc.
Darren Almond, Mono Chrono Pneumatic Red 2007. Courtesy Matthew Marks Gallery New York
pfc. | 97
Architect: Pierfrancesco Cravel Client: Tiziano Gusti Photography: Stefano Pandini
98 | pfc.
1996 Ziano Piacentino Italy Caâ€™ del Vaj pfc. | 99
100 | pfc.
pfc. | 101
102 | pfc.
pfc. | 103
Modern islamic Bourgeois
State of Kuwait Architects: Pierfrancesco Cravel Fabrizio Casiraghi Davide Pontoni Client: Mr. Abdullah Al Sultan
104 | pfc.
“I’m Lave” film directed by Luca Guadagnino, Villa Necch interiors
pfc. | 105
106 | pfc.
The two following projects retrace, translate and elaborate known shapes, personal and collective memories. In the first project the plan of Villa Necchi di Campiglio is deconstrued with the rotation of the axes of the lateral bodies of the building, clearly understandable by the design of the layers on the faรงade, rotated by 90 degrees with respect to the original drawing of the famous milanese villa, while the staircase leading from the garden to the hall is proposed identical to the original.In the second project, the decorating plastic aspect of islamic architecture is given by the pattern of level curves generating a unique interior landscape informing architecture and nature to the same origin of their composition.
pfc. | 107
108 | pfc.
Besides page top: Villa Necchi Campiglio ground floor survey and picture of the entrance from the garden Constructed between 1932 and 1935 by the Milanese architect Piero Portaluppi, Necchi Campiglio Villa. Architecture, decorative arts, furnishings and collections express as a harmonious whole the high standard of living of the owners, who belonged to the upper middle class of Lombard industrial families. At the same time, the fervor of daily activity is adequately witnessed by the service areas of the house, the pantry, the kitchens and bathrooms, all still graced with their original facilities.
This page: Islamic contemporary house, project A, plan and elevation
pfc. | 109
CONTOUR GENERATED THE ARCHI LANDSCAP OF THE PRO 110 | pfc.
LINES D ITETURAL PE OJECT. pfc. | 111
112 | pfc.
Islamic contemporary house, project B three dimensional computer- generetated images
pfc. | 113
114 | pfc.
Islamic contemporary house, project B plan
pfc. | 115
NTER 116 | pfc.
INT RIO 04 2013 pfc. | 117
Luminal Club Milano, Italy Architect: Pierfrancesco Cravel Client: Driade SpA
118 | pfc.
pfc. | 119
120 | pfc.
The club occupies the entire ground floor of a Art Nouveau building at Viale Montegrappa 14, with three windows nine metre high giving overlook the street. I chose not to restore the faรงade. on the inside instead, I eliminated all that was added during the ages in order to get back to the original project of an elegant ballroom from early 20th century. Far from establishing new languages, after having liberated it, I designed the interior with Meyer Sound technology, lights and combining the original parts, the polished cement, big chandeliers made of smoked crystals illuminated by a digital system, mirrors with golden background on which I made engrave a graphic motif from a Charle Eames sketch from 1939. The venue is composed by a lobby with the first bar completely made of golden and engraved mirrors. Two smoked crystal chandeliers are placed symmetrically with respect to the staircase leading to the ballroom. The ballroom has polished cement floor and a circular plan, is dominated by a glass dome 15 metre diameter. The second bar is tangential to the ballroom, it is a parallelepiped 12 metre long with black mirrors reflecting the light of three chandeliers
pfc. | 121
122 | pfc.
pfc. | 123
124 | pfc.
2006 Saint Petersbourg, Russia Architect: Pierfrancesco Cravel Client: Hatullia and Timur Avsadzhanashvili
pfc. | 125
126 | pfc.
pfc. | 127
Amnesie Andrea Branziâ€™s exhibition and the Italian neoclassic architect Antonio Rinaldi are the design references. The merging old times allure and sheen with different indoor and outdoor places. All the modern pieces are ligned up in the center of the ancient building, with its Ionic decoration and original volumes.
128 | pfc.
pfc. | 129
letter to Alessandro
Two small flats in Milan 130 | pfc.
Via Mora House Milano, Italy Architects: Pierfrancesco Cravel Phptography Alberto Ferrero
2004 pfc. | 131
â€œA different altitudeâ€? Milan, Colonne di San Lorenzo. Photography Olivo Barbieri
132 | pfc.
In Milan, near the Colonne di San Lorenzo, such an hybrid architecture is a unified space tempered with ‘rooms’ that are permeable to light and visual, organized as an architecture within an architecture. Spaces becomes a series of evanescent theatrical wings, not reaching the ceiling or touching the walls but shaping a glass cube, which is an hybrid between on object and an architecture, a solid and a void. It is a typological attempt to resolve architectural design in a project of communication, while at the same time remaining detached from both. Without the pretense of updating an aesthetic language, we just organized a series of communication elements of space trough empty volumes that indicate possibilities for spatial use. Pierfrancesco Cravel “The trans-opaque loft” Interni n. 535 October 2003
pfc. | 133
134 | pfc.
Via Mora House, 2005. Interiors views. Phptography Alberto Ferrero
pfc. | 135
Andrea Branzi: Open Enclosures. March 28 - June 22, 2008. Fondation Cartier, Paris, France
136 | pfc.
One could describe this project as a kind of essay in loft design,” inasmuch as it involves the transformation of an empty ground-floor warehouse situated in downtown Milan into an ingenious scheme that explores the concepts of mass and void, the states of open and closed, ingeniously defying the container’s classic featureless long and narrow floor plan while successfully imposing all the necessary separate functions of a home. The outcome is most engaging, and offers an accomplished dissertation on conversion method itself. The unassuming plainness of the container is endorsed by the blanket application of white for ceilings and all vertical surfaces, within which is suspended a sort of open cube defined by floating panels of frosted glass that divide up the space into distinct areas, but leave it eminently permeable owing to the nature of these slender translucent partitions. This curious architectural device subdivides what is intrinsically a single space into three distinct functional areas, relegating the kitchen and service facilities to the bottom end beneath the sleeping quarters. But most of all, the device performs the subtle but expressive task of rendering the functional com partments distinguishable in both logical and perceptive terms, within the single spatial entity of the container. Effecting a sort of architectural sleight-ofhand, the idea’s mixture of sheer simplicity and basic materials defies all the established stereotypes of loft design by delineating an abstract space, dissolving thresholds and yet affirming their existence by means of these suspended transparent panels, which allow the “rooms” to flow seamlessly into each other, and whose layout is only really be perceived when passing physically through them. Given this challenge to the very idea of a loft typology, the project is equally unfussy about stylistic congruency, so by the same logic we find the traditional smooth white beola stone in the service areas side-by-side with such modern materials as resin, which benignly effaces the original !industrial wooden floor. Silvio Sanpietro e Paola Gallo, Lofts 2 in Italy, Edizioni l’archivolto 2003
pfc. | 137
138 | pfc.
pfc. | 139
140 | pfc.
Via Casale House Milano, Italy Architect: Pierfrancesco Cravel Client: Alessio Rotondi Phptography: Alberto Ferrero
2006 pfc. | 141
142 | pfc.
Casa di ringhiera is a kind of public housing, chiefly for the lower classes, consisting of a series of flats, typically two-room ones, aligned alongside a shared balcony. Originally, those flats often had no running water, so toilets were also shared. They are typical of the age of the first massive industrial development in Italy (early 1900â€™s), and can be found especially in Milan and, more broadly, in Lombardy. Their inhabitants lived side by side and shared not only services, but also, more broadly, common social conditions, and necessarily spent a lot of time together; they didnâ€™t live in isolation, and community live was often lively and vibrant. The project created a trhird room, with a dining area, optically separataed from the living.
pfc. | 143
Burgan Bank, Sate of Kuwait Architects: Pierfrancesco Cravel Andrea Bolla Francesco Bolis Engineering: Favero & Milan S.p.A. Client: Sheikh Hamad Nasser Al Sabah
New branch banking 2012
144 | pfc.
pfc. | 145
146 | pfc.
pfc. | 147
Halamara, Sate of Kuwait Architects: Pierfrancesco Cravel, Lighting design: Arup London Client: Sheikh Majed Nasser Al Sabah
148 | pfc.
Al Hamra interior concept
pfc. | 149
The Al Hamra Tower is a topped out skyscraper in Kuwait City, Kuwait. It is the tallest building in Kuwait on completion in 2011 at 412.6 m (1,354 ft). The tower includes 195,000 m2 (2,100,000 sq ft) of commercial and office space. The building connects to a five-story retail mall which totals 23,000 m2 (250,000 sq ft) of retail space and includes an integrated theater complex and an 11-story carpark. A 54 square meters sales corner dedicated to cakes and accessories. The logo is Olafur Eliasson’s sun and reproduces dawn and sunset; the light temperature follows according to the outdoor light
Al Hamra Tower, Kuwait City, State of Kuwait. Photography SOM, Pawel Sulima
150 | pfc.
pfc. | 151
152 | pfc.
Al Hamra sohp 1. Three dimensional computer- generetated images, views of the interiors.
pfc. | 153
154 | pfc.
Olafur Eliasson - The Weather Project, installation in the Turbine Hall, Tate Modern, 2003
pfc. | 155
Milan, Italy Architects: Pierfrancesco Cravel Angelo Garioni Engineer: Andrea Bolla Lighting design: Arup London Client: Dismi 92 S.p.A.
Allegri con 156 | pfc.
ncept store pfc. | 157
158 | pfc.
It is about future looking backwards to the past, François Roche defines it “Vintage notion”. A future that necessarily replicates our déjà vu and déjà vécu. It retraces, translates and elaborates known shapes, personal and collective memories. A future meant as interaction, stratification and reinvention of classic modern cultural étant donné, this vision has affected also the two following projects. Two possible ways of merging old times allure and sheen with different indoor and outdoor places. it is above all, two possible ways of evoking and interpreting Allegri’s world reprogramming and re-elaborate its context, its characters and its references. In the first project, the combination of zen garden with modern organic view of Norwegian architect Sverre Fehn goes as far as the contemporary imitation of the nature by Yoshioka or Eliasson, inspiring the evanescent all-embracing candor of space. An absolute white interrupted by the black of the cabin of the elevator, which is reflective with purplish glare, has wooden floor, a fireplace and conceptual artwork chandelier like “In Girum Imus Nocte, Et Consumimur Igni” by Cerith Wyn Evans (2006, for more information please visit the White Cube Gallery London website). midway between superposition and rarefaction, hall and elevator. Many archetypes of garden and house interior are evoked. Stones in dosed disorder from zen garden, Nordic Pavilion interiors by Sverre Fehn at Biennale in Venice, the evanescent candor of the fireplace, chandelier and armchair, satinized light coloured glass in the hall, the contrasting presence of the elevator which slides in a tower covered with mirrors and with a light blue stroboscope which transforms it in a stage machine. the colour of the neons at 4000 kevin, à la Philippe Rahm, alined on the top and on the bottom. In the second project, perspective and chromatic relationships redefine the identity of the space. an abstract landscape à la Kandinsky able to evolve and modify itself like the prototype of BMW G.I.N.A car, acronym for “Geometry and Functions in N Adaptations”. A multifaceted prolificacy of volumes and surfaces on which lay, spread out, show garments on sculpture-pedestals. In this case the commercial area becomes shopwindow and the structure furniture, in an alternation of shields echoing modern artists’ works like Tobias Rehberger and Tom Burr (for more information, please visit the websites of the following art galleries Giò Marconi, Milano, and Franco Noero, Turin). Mariuccia Casadio
Cerith Wyn Evans, Exit, 1994. Plastic found objects 7’ 2 5/8” x 52” (220 x 132.1 cm) 10-Nov. 11, 2007. Atelier Van Lieshout, Michelangelo, 2004 Cerith Wyn Evans, In Girum Imus Nocte et Consumimur Igni, 2006 courtesy Jay Jopling, White Cube London Atelier Van Lieshout, The scientis, 2002 Tokujin Yoshioka × Lexus L-finess, 2005-2006. LEXUS Installation / Italy / lexus.jp
pfc. | 159
160 | pfc.
Allegri concept 1, 2008 Three dimensional computer- generetated image Views of the interiors
pfc. | 161
” Tom Burr, Patterned After Pleasure, 2011. Wool and wool blend blankets, shirt, jacket, steel tacks, steel push-pins on stained plywood, 159 × 121 x 10 cm image courtesy of Stuart Shave/ Modern Art, London Beside Page: GINA, (Geometry and Function in N Adaptions ) BMW Sport car concept, 2001 designed by Chris Bangle Tom Burr, Addict-Love. Installation View, SculptureCenter, NY *Image description at bottom of page Image © 2008 SculptureCenter and the artist. Photo: Jason Mandella
162 | pfc.
pfc. | 163
Allegri concept 2008 Three dimensional computer- generetated image Wiew from the top of the ground floor
164 | pfc.
Martin Boyce ‘Our Love is Like the Flowers, the Rain, the Sea and the Hours’, Installation view, Tramway, Glasgow, 2002 Courtesy The Modern Institue
pfc. | 165
ClĂŠment Rodzielski, Untitled, 2008. Courtesy: the artist and Galerie Carlos Cardenas, Paris.
166 | pfc.
Allegri concept 2 2008. Three dimensional computer- generetated image. View from the top of the ground floor
pfc. | 167
Gentryportofino Milano, Italy Architect: Pierfrancesco Cravel Designers: Giuseppe Barone Tal Berman Corrado Galzio Salvo La Corte Lighting Design: Viabizzuno, pfc. And conceived with italian fashion designer Maurizio Pecoraro
168 | pfc.
pfc. | 169
170 | pfc.
pfc. | 171
Flagship Store Milan 2014
Maurizio Pecoraro Milano, Italy Architect: Pierfrancesco Cravel Designers: Giuseppe Barone Tal Berman Mattia Andrea Ferrari
172 | pfc.
pfc. | 173
174 | pfc.
pfc. | 175
176 | pfc.
pfc. | 177
178 | pfc.
pfc. | 179
180 | pfc.
On the occasion of the opening, five of the twenty pieces of “call anything you want” by Paola Pivi have been exhibited together with two prototypes of “Liconi “ from Alessi Museum. As in works of Llyn Foulkes, space controls the superimposition of signs in an imaginary dialogue between Carlo Scarpa and mies van der rohe, between licini’s, mondrian’s, cyprien galliard’s and paola pivi’s abstract art. “it is necessary to make possible the coexistence of planning logics distant from each other in order to adapt project complexity to that of the contemporary world”1 The result is provisional equilibrium of materials and colours that lose their volume on the decorative area in order to explore fictitious relationships of reality, between the intense reds of brass, dark purple and many shades of gray that multiply in the marbles, marquetries and plasters. Thin walnut wood lines traverse the whole architectural space. The tangible expression of the fracture method used in the project appears to search for the sense of a sampling of fine and sophisticated signs with materials and finishes combined in a seemingly absurd way. Exposed along the wall that faces the window are showcases that cross into one another with the collection hanging in a new frame of broken lines, black with sections of brass in the style of munari where same mirrors made between 1945 and 1960 are set with fine, curved, woden frames. From a higher level, the mirrors catch glimpses of the landscape outside and retraces the inside as if to suggest that fashion is a tale of a life of elegance, sophistication and culture: contradictory volumes, mistaken colours and improbable combinations find shape, density and sense. 1. Corrado Levi, “Trattatino di architettura”, Tranchida 1993
pfc. | 181
182 | pfc.
Pierfrancesco Cravel graduated from the Politecnico di Milano where he attended the courses of Corrado Levi and Andrea Branzi with whom he designed some furniture for the house of Lawrence Steele, Grand Vases and Genetic Tales. In 1998, he became Art Director for the Trussardi Group working with Nicola Trussardi and photographers that included Satoshi Saikusa, Steven Klein and Armin Linke. At his own company, PFC architects, founded in 2000, he has designed and created many commercial and residential building notably The theoretical de-costuction of the Pirelli Skyscraper in Milan (1996), Villamoda (2001) and the public space around the Dubai International Financial Centre (2007). In 2012 he started to design for Alessi and Driade. He has lectured in Architecture and Industrial Design at the Politecnico di Milano since 1999 and as a “Visiting Professor” at the Luigi Bocconi University in Milan in 2010 and at the IED (L’Istituto Europeo di design) in 2012. He has written articles and reviews for Vogue Italia and more recently for Domus online. In 2014 the Chicago Athenaeum: Museum of Architecture and Design, The European Centre for Architecture Art Design and Urban Studies granted him the Good Design 2013 Award in the category Tabletop for the Liconi.
pfc. | 183
Articles on issued on Domusweb.it in 2012-2010
Tulkus 1880 to 2018 An art report from Rivoli 20 November 2012 ... Pierfrancesco Cravel: Is the sense of this exhibition the ethnographic study of a theocracy in danger of extinction, or the chronicling of the risk of a ...
Migrants to Germany at the Biennale #1
(Un)Forbiddden City, made in Italy
James Plumb at Galleria Rossana
A news report from Beijing 14 October 2011.
... to the industrial product. This time, starting from
A news report 26 November 2010
the cultural traditions of both the East and the West.
... school. Pierfrancesco Cravel: Did you meet
Art Basel from the outside
An art report from Venice 08 June 2011 ... film; here, however, it might just take all that light from the famous Venetian painter’s works somewhere else
at the university? James Russel: Yes we met at our school, at the foundation courses. ...
An art report from Basel 08 July 2011 A queue of polished black BMWs with dark rear
Matthew Buckingham’s: An Alphabet
windows prepared to receive their
A news report 17 November 2010
VIPs looks like a scene from the 1980s, and
Images can easily be manipulated. Information is
embarrassing for that. ...
often exploited. Knowledge
Migrants to Germany at the Biennale #1
is subject to an increasingly obsolescence so that what ...
An art report from Venice 26 June 2011 ... screen.” This is why their work is consumed with
Interview to Fakepress
a sense of urgency thatepitomises the immediacy of
A news report 02 November 2010
... Pierfrancesco Cravel: Fake during a conference
Design Miami/: W Hotels Designers of the Future Award
about how culture is making worlds? Why? We would rather look for authenticity. By the way, how’s your son? ...
A news report from Basel 16 June 2011 ... according to the two designers, should fulfill the
Tate Modern Exposed: Voyeurism,
festival’s goal of facilitating encounters between
Surveillance and the Camera
A news reportt 01 October 2010 I think that the thing that is so interesting about the evolution of survelliance, is that is’s impersonal and it continues all the time, expecially now with ...
184 | pfc.
“The palace of culture is built with dog
The new Spanish Expressionis
shit” wrote, somewhere, Brecht.
A news report 21 June 2010
A news report 16 September 2010
In Basel, just besides the Art Unlimited, the Design
An intense blue-violet writing installed on an
Miami Pavilion hosts design galleries that are
antique Venetian window with four lights in Campo
presenting theirs furniture collections. ...
Santo Stefano says: Kultur ist ein Palast der aus ... It should be turned Almost Monochromes: a confrontation
A news report 18 June 2010
A news report 05 August 2010
Viennese Galerie Mezzanin set up in its Art Basel
Unpainting unpainted almost monochromes
stand one of the most intellectulally
paintings, almost monochromes. Shimmering
emotional events of the fair by dedicating its entire
silver surfaces that are animated by the the
space to a solo ...
reverberation ... Po(l)etical utopia DESPITE UTOPIAS: ‘Because every city
A news report 16 June 2010
has the right to be called Utopia’ (2002)
Suspended between iconophilia and icoclasm, one
A news report 3 July 2010
of the most amazing, moving and representative
... and architecture, each of them intended to
of our contemporary is Kader Attia’s installation
change urban space into a utopian space, a
new symbolic and political space.” Pierfrancesco Cravel: And what ...
After-effect A news report by 23 May 2010
Rising (up) agai
Some days ago this very website published a
A news report 01 July 2010
letter addressed to Alessandro Mendini where
Not so far from the Domus Academy -a Milanese
by quoting the words of a character of a Disney
suburbia that brings to mind the landscape of
cartoon - the famous ...
“Pomeriggi alla media industria”- a building of a company which was ...
Lettera ad Alessandro Mendini A news report 15 May 2010
Sans titre, 11 Mars 2005
Dear Mister Alessandro Mendini, Since some time
A news report 26 June 2010
I was trying to get the right word for writing you.
Young French artist born in Morocco and recently
Precisely since when, in Triennale ...
relocated to Switzerland Latifa Echakhch’s À chaque stencil une révolution is an installation selected by ...
pfc. | 185
Press Daily Press
Charlotte Brune, “Dix Ans, une Décennie de luxe, Série Limitée, n. 78 Les Echos, October 23rd 2009
Antonella Boisi e Matteo Vercelloni, Arabian Dream, Interni 530, April 2003
Federica Artina, Un’oasi di modernità immersa nella sabbia, Il Giornale, April 17th 2005 Gianluigi Parrachini, Moda e design, nel deserto del Kuwait, Corriere della Sera, April 18th 2002 Elsa Molière, Vivre aujourd’hui, Le Figarò, May 2nd 2002 Maria Soave, Villa moda, L’Italian style tra le dune degli sceicchi, Il sole 24 Ore, September 25th 2002
Pierfrancesco Cravel, Il loft transopaco, Interni 535, October 2003 Jen Ford, Hot house 2002, Spruce*, Spring Summer 2002 Jonathan Wingfield, Le chic du cheikh, Numéro 34, June 2002 Maria Grazia Marchelli, Fashion appeal, Rivista del vetro Anno 26 n.9, Selezione 2002 speciale progettisti. Villamoda Permanent Food, December 2002 Tyler Brulé, The house of style, Spruce*, Autumn Winter 2001 Corrado Levi, Tabula Rasa, Ottagono N 102, March 1992
186 | pfc.
Chris Van Uffelen, Clear Glass: Creating New Perspectives, Braun 2009
Alessi: vassoi Liconi A news report from Milano 06 Dicembre 2012 Domusweb.it
Chris Van Uffelen, Malls & Department Stores, Braun 2009
Irene Tamagnone A Mermaid’s night December 12th 2012 Vogue.it
Sara Manuelli, Design for shopping, new retail interiors, Laurence King Publishing ltd 2006 Silvio Sanpietro e Paola Gallo, Lofts 2 in Italy, Edizioni l’archivolto 2003 Crisitina Morozzi, Oggetti risorti, Costa & Nolan 2001 Corrado Levi, Trattatino di architettura, Tranchida 1993 Corrado Levi, C’è tutto novembre per pensarci, Dopo Albini, Studio grafico Calvi 1992
pfc. | 187
188 | pfc.