A retrospective of the design work by the Castiglionis, published in September 1966 on Domus, tells us about their most recent inventions and at the same time, shows us how past inventions are not outdated.
In 1980, American architect John Hejduk describes Adalberto Libera’s villa, designed for Curzio Malaparte, as a house of rituals and rites, of mysteries, an ancient play unraveling under Italian light.
From Domus archives, images and sketches by the Venetian master recount his refined work on the 15th century noble building.
Colombo's concept of dwelling can be read in the space he designed in Milan in 1968.
In 1962, the publication of a home near Haarlem designed by Gerrit Rietveld was an opportunity to reread his masterpiece symbol of De Stijl, the Schröder house.
In 1974, Domus reported on what was a unique event in Italy: a great, heterogeneous contemporary art collection assembled in 25 years by artist Remo Brindisi, installed in a “dwelling museum” designed by Nanda Vigo.
Made entirely of plastic, this fully circular villa was designed by Swedish architect Staffan Berglund for the Danish airline magnate Simon Spies; for years ignored by architecture critics, it has recently been revisited in a monograph.
In 1959, the Viennese transplant to America anticipated some reflections on spontaneous architecture that would find fulfillment years later with the publication of Architecture without architects.