We rediscover from our archive the contemporary icons that the architect had the students of the Politecnico di Milano “review” in “Lezioni di Piano”, a six-part series broadcast on Italian national television.
The Pritzker 2025 winner has always worked on the evocative value of his projects: in 2009 he could tell us a story, through the space he dedicated to a victim of the Sichuan earthquake.
From the 1930s to the 1970s, we take a look into the Domus archive to explore what designers came up with for outdoor living: light, colourful, portable furniture that could also be used as a toy.
The firm led by Kazuyo Sejima and Ryue Nishizawa has been awarded the highest accolade by the Royal Institute of British Architects: the project for the Louvre in Lens, from the Domus archive, recounts the human and aesthetic values of their architecture.
An Italian master of design, adopted New Yorker, we remember the multifaceted artist through Domus articles and interviews.
The Japanese architect, who left us at 88, had developed the radical teaching of the Metabolists and expressed it in projects and concepts destined to become emblematic: one of them, the Niramu House, was published on Domus in 1981.
On the eve of year 2000, photographer Ramak Fazel visited masters such as Sottsass, Magistretti and Castiglioni in their studios to discover the tools of their creative work at the dawn of the digital age.
In 1994, Domus published the drawings that the great De Stijl artist made in 1925 for the salon of a house in Dresden: a living space defined by geometry and color, with the value of a programmatic manifesto.
Today, the Fondation is preparing its new location near the Louvre; in 1994, it inaugurated its first building, an iconic garden-glass box open to Boulevard Raspail through a transparent screen.
In the early 1980s Domus explored New York as finance, power and skyscrapers were swarming back to the city. In the tower Donald Trump wanted, the origin of a story that has come down to the present day could be read.
