The studio is located inside a historical building dated 1593, defined by an architectural complex recalling the structure of a patrician Domus. The building includes a cloister, several small courtyards, and a botanical garden like the typical residences in ancient Rome to which a private chapel was added in 1600.
The classical references continue with the protruding cornice wall (tympanum) on the façade of the church, such as on the outer front of an ancient Greek and Roman temples, and with the interior rectangular plan, typical of the sacred buildings of that time. Along the perimeter, the chapel shows a Corinthian-styled arcade, decorated with ribbed columns.
The office interior design conveys to re-edit classical style into a contemporary guise.
In a continuous flow of historical cross-references, all pieces of furniture reveals an eclectic mark of the decorative and architectonical overlays from the changes made in the XVIII and XX centuries.
The furniture is made of black, olive wood and iron, a direct reference to the sacred; whereas the contrast between the use of these materials with high-gloss black paints, whilst highlighting the shapes of the furniture, also refers to the modernity of Italian minimalist design of the 60s’ of the former refectory, designed by the eminent architect Carlo Scarpa.
On the one hand, the benches, customised to be inserted between the columns of the church, are made in black iron and covered with azure horse-hair style fabric, evoking the crinoline used in the clothing of the XVIII Century.
On the other hand, the columns of the altar have been dressed, according to the tradition of the Renaissance, with a modern venetian fabric designed by Giò Ponti, a symbolic bond between Italian design and traditional Venetian manufacturing.