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.
An Italian master of design, adopted New Yorker, we remember the multifaceted artist through Domus articles and interviews.
In 2015, the architect of modern Sardinia told Domus the story of his Casa Scalesciani, created in the 1970s to translate a panorama and a cliff into a living experience.
Identity and continuity: in 1986 Domus met the Italian designer behind legendary models such as the S-class and SL spiders, to discover how the soul of a brand is born and renewed.
In 1969, the “whipped cream mémoires” the designer used to write for Domus landed in the United States, and an anarchically functioning TV was enough to open up new glimpses into our visual culture.
Manifesta 2024’s Barcelona is represented by the post-industrial seaside chimneys; 1992 Olympic Barcelona identified instead in an infrastructure embodying innovation and attention to landscape.
Not only architects: a journalist, a star on the mid-century Rome scene, before becoming the first Italian editor for Harper’s Bazaar, Irene Brin was also invited by Domus to narrate a house conceived for herself.
