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.
An Italian master of design, adopted New Yorker, we remember the multifaceted artist through Domus articles and interviews.
“Not neo-Classicism, but rather an essential classical quality”: in 1969, on the death of Ludwig Mies van der Rohe, Domus presented his recently completed masterpiece in the words of Agnoldomenico Pica.
A sculptor with Le Corbusier, an art director for Olivetti, summoner of places from single objects, Sardinian roots and global outlook. Domus portrayed the total artist in 1952, starting from his garden-home on Long Island
Before its recent dedication to the memory of Silvio Berlusconi, and the transformations at the turn of the millennium, Milan's intercontinental airport had been an essay in modern Italian interior design and architecture, as Domus reported in 1959.
In 1949 Domus published a beach club, a future symbol of Italian summer and international music: Aretha Franklin, James Brown and Mina would shine from the stage, while the original design was by Baroni, Tempestini and Porcinai.
In 1964, the Japanese maestro completed the Olympic arenas in Tokyo, and Domus published his commentary on these projects, which were destined to become icons of modern architecture.
