272 - July 1952
Villa ad Alassio, arch.tti Gai & Moro; facciata con veneziane delle officine Malugani
537 - August 1974
Complesso scolastico "Les Maradas" a Cergy-Pontoise, arch.tti Pencreac'h, Lenclos, Mourgue
1016 - September 2017
Elaborazione grafica di un disegno di Enzo Cucchi. Nel centenario della nascita di Ettore Sottsass, l’artista e amico gli rende omaggio proprio sulla sua Domus con un disegno Sottsass”, 2017 (penna bic su carta, 5,5 x 4,5 cm) –
e con un pensiero: “Si nasce con la parola”, che entra fin dentro le pagine della rivista.
98 - February 1936
Vetrata di Luigi Fontana su cartone di Gio Ponti nella biblioteca del palazzo della scuola di matematica alla città universitaria di Roma
10 - October 1928
L'uva della terra promessa, porcellana di Richard-Ginori modellata da Italo Griselli
523 - June 1973
Senejouand, "Schéma d'organisation des espaces de la vallée de la Seine entre Paris et Le Havre"
293 - April 1954
Poltrona disegnata da Gio Ponti, rivestita in tessuto scozzese stampato su tela arazzo di Fede Cheti
1015 - July 2017
Elaborazione grafica di un disegno di Frank Lloyd Wright
per il Larkin Building di Buffalo, New York, 1902-1906. Prospettiva e dettaglio della pianta, 1930 circa.
560 - July 1976
Foto di Taxi esposti alla mostra "Taxi projects: realistic solution for today" al MoMA di New York
126 - June 1938
Servizio da tavola di Richard-Ginori in terraglia dolce decorato a pennello, posate di Krupp
110 - February 1937
Tavolino con piano in cristallo Securit premiato al concorso nazionale Securit, arch. G. Palanti
594 - May 1979
Thomas Alva Edison accanto al modello della "Concrete House" da lui realizzata nel 1907
660 - April 1985
A Bureau in William and Mary Style, progetto di Robert Venturi alla mostra "Le affinità elettive", 17° Triennale di Milano
442 - September 1966
Ambiente di specchi di Nanda Vigo nella "Sala Espressioni" Ideal Standard a Milano
1043 - February 2020
Also known as the Psychology Tower at the University of California, Los Angeles, Shepard Ivory Franz Hall II opened in 1967. Franz Hall II is not primarily notable for its design (a square structural concrete grid), nor its scale (although when new it was the tallest building on campus) but because of its architect. Paul Revere Williams was the first black member of the American Institute of Architects, and later its first black fellow. He fought to transcend the prejudices of his predominantly white client base, and indeed was largely successful in doing so. He designed hundreds of buildings across Los Angeles, in a wide variety of styles, from sober middle-class homes to Beaux Arts mansions, from modernist civic structures – including parts of Los Angeles Airport – to Beverly Hills hotels. The most frequently told story about Williams is that he learnt to draw upside down to avoid making his clients feel uncomfortable by sitting next to them during design meetings. In fact, in his own telling of the story, Williams mastered the skill in order to deflect attention from his race and direct it instead towards his impressive technical facility. Thomas Demand was attracted to the rational, modular efficiency of Franz Hall II, which corresponds with his own technique of cutting repeating paper shapes for his models with a digital plotter. The thinness of his construction, too, here resonates with the identity of the building: a neutral facade that occludes not only the complexity of Williams’s biography but also the disfunction and pain that was addressed within. This is the first time Williams’s work has been featured on the cover of Domus.