In his 1,720-square-foot accommodation 23 afar east of Milan, autogenous artist Daniele Daminelli has accomplished article difficult: creating a dark-colored yet light-filled abode that is as accessible as it is stylish, affording his adolescent ancestors a anchorage that is both abating and aesthetically engaging, alike during the pandemic. “COVID’s absolutely accustomed me to anticipate abnormally about alive from home,” says Daminelli, who with wife Giulia is adopting their two accouchement in the boondocks of Treviglio. “Fortunately our accommodation accustomed us to acquaintance apprehension easily, and absolutely enjoyably. We are absorbed in creating adult spaces, alike for the kids, and teaching them how to alive with account for beauty.”
The three-bedroom collapsed is on the arena attic of a baby 1934 architecture advised by the Milanese architect-engineer Elio Frisia as authoritative accommodation for the Gerosa bottle branch that already thrived beyond the street. The brace had been eyeing the abode for a decade while Daminelli was alive at Milan’s Dimore Studio, but alone afterwards the artist founded his firm, Studio 2046, in 2017 did they feel accessible to booty on the claiming of reimagining a amplitude there. Finally, in December 2019, the Daminellis larboard their adjoining turn-of-the-century Liberty-style abode and confused into their new home.
“The accommodation hadn’t been inhabited for 20 years, so it bare work,” Daminelli reports. While some elements, such as anachronous electrical wiring, had to be replaced, the advance was absolutely bland and took alone four months. “We had actual bright ideas, and auspiciously the administration of the accommodation was actual able-bodied designed. And because the aboriginal abstracts were of aerial quality, they were still in acceptable appearance and had maintained their accustomed beauty.”
Still, antecedent owners had alone the ceilings, abashing some aboriginal gesso rosettes as able-bodied as concealment the accommodation in general. Daminelli reinstated the abounding 13-foot beam height. Enamored of the abnormal casement windows in the living-dining and children’s rooms, he assassin bounded artisans to restore them. “They’re absolutely works of art,” he enthuses. “The arrangement was an engineering feat.”
Initially, Daminelli anticipation he would backpack the kitchen and bathroom, but ultimately absitively to leave them and advance the affection of the aboriginal flow. “I approved to account the attributes of the spaces,” he says. “I didn’t appetite to leave traces of my work.” Still, he did accompany a added “invasive” advance in the ample aggregate ancestors bath- room, amid the toilet and bidet from the tub and battery and installing august Carrara Bianco finishes that answer the aboriginal marble lining the building’s accepted staircases.
The activity afforded Daminelli the adventitious to apprentice added about Frisia, who formed with some of Milan’s best arresting architects, Gio Ponti and Piero Portaluppi amid them. “Before I bought the place, I didn’t apperceive about him, admitting I did apperceive some of his buildings, like Palazzo Vittoria,” he says, referencing a 1930s accommodation block in Milan. Daminelli praises Frisia as a “master of engineering,” whose aptitude for designing well-conceived spaces is decidedly axiomatic in the ample living-dining room, its 6 ½-foot-tall windows overlooking the linden copse in the artery outside. “It’s my admired allowance and the affection of the house,” he says.
The allowance is additionally an archetype of how seamlessly Daminelli combines his own assignment with pieces from his enviable accumulating of 20th-century design, which actuality includes 1950s Gio Ponti armchairs and 1970s Kazuhide Takahama sofas sitting on a 1920s Nicols Chinese Art Deco rug. In the dining area, 1990s Jordan Mozer chairs abut an adjoined brace of Daminelli’s Velasca aboveboard marble tables, which debuted at the 2019 Salone del Mobile. “The accord is essential,” he notes. “It’s a catechism of accumulation proportions, abstracts and colors, and celebrated and abreast objects. If pieces are beautiful, they’re additionally timeless.”
That faculty of abiding architecture begins with the entry’s wallpaper, which reproduces an 18th-century hand-painted chinoiserie pattern, adapted with a added avant-garde blush palette. Historical color—a abysmal blue-green from the library of an 18th-century English country house—informs addition arresting choice: It’s acclimated on the walls and ceilings in the capital rooms, as able-bodied as on the adhesive floors in the entry, kitchen, and bathroom, giving the spaces an about undersea-grotto atmosphere.
Daminelli and his wife—whom he calls his muse—frequently accredit to their admired influences, from appearance artist Dries Van Noten to 20th-century architecture icons Josef Hoffmann, Charlotte Perriand, Carlo Scarpa, and Gae Aulenti. But of all Daminelli’s inspirations, it is the agnostic Turinese architect, designer, and columnist Carlo Mollino who charcoal paramount. “I’m absorbed by him because he admired architecture and he admired life,” the artist explains. “Mollino approved adorableness in active able-bodied and actuality amidst by admirable bodies and ideas. That is my allure to the maestro.”
Mollino’s aesthetics has accepted decidedly advantageous during the pandemic. “Through COVID, we accept apparent this adjustment of alive with audience over Zoom that allows us to alive in a new and absorbing way,” he says. “It’s a beginning approach of thinking, but it’s additionally like the Renaissance ideal of an chip life. I anticipate we’re branch for a new Renaissance.”
Project Team: Mauro Ongis: Studio 2046.
Product Sources: Studio 2046: Marble Tables (Dining Area). Pierre Frey: Wallpaper (Entry Hall). Bertazzoni: Cooktop (Kitchen). Rubinetterie Stella: Faucet. Pozzi Ginori: Basin (Bathroom). Throughout: Little Greene: Adhesive Flooring, Paint.
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