#antonio-trocoli

#antonio-trocoli

The intervention 'restored the perception of the monument's original scale and pavement level,' while enabling visitors to approach the structure more directly and understand the sequence of the ambulatory and its arches. This recalibration of levels, based on archaeological findings and geometric studies, also enabled the reorganization of the stormwater drainage system, integrating surface slopes and transitions into the paving design while maintaining coherence with the monument's historical configuration.

Glass demands immediacy. Working at temperatures above 2,000°F leaves little room for overthinking, so the process becomes a kind of live dialogue between material, colour and chance. That same immediacy informs what I'm drawn to as a collector: works that carry a decisive gesture, a tactile presence, and the feeling that they could only exist in one form.

The project examines the integration of digital fabrication processes into reinforced concrete construction, highlighting that while materials such as steel and timber have undergone significant transformation through digital production methods, reinforced concrete has largely retained conventional casting techniques. The proposal aims to address this condition by incorporating digitally fabricated components into the construction system.

From unassuming hunks of Carrara marble and limestone, Matthew Simmonds carves realistic, miniature gothic cathedral arches, stairwells, and colonnades. Often based on architectural details of real places, such as cities around Tuscany and Germany's Bamberg Cathedral, the sculptures portray intimate details of corners, vaulted ceilings, arcades, and stairwells that can sometimes be peeked through additional apertures.

Glass, in particular, exists within a lineage of techniques that have changed surprisingly little over centuries. The furnaces may burn hotter and the tools may be refined, but the core dialogue between heat, gravity, and human hand remains remarkably intact.

Benedetta, as in the best stories of craftsmanship and innovation, leaves her garage. The domestic space, which sheltered and inspired her for years, is no longer enough. Demand is growing. Ideas are multiplying, and with them, collaborators.

One tenet of classical idealism is the idea that Roman and Greek statuary embodied an ideal of pure whiteness-a misconception modern sculptors perpetuated for hundreds of years by making busts and statues in polished white marble. But the truth is that both Greek statues and their Roman counterparts were originally brightly painted in riotous color.

Bronze, when shaped by the right hand, holds time in suspension—an argument against decay, against disappearance, against the quiet erasure of the human story.

The foundation's collection is exceptionally large, encompassing more than 10,000 items-including thousands of drawings, over 400 sculptures, 100 paintings, a whole collection of decorative objets d'art, prints, everything that was in the studio, all the archives. Most of the collection has never been exhibited.

"Piano piano" is an old Italian saying that sounds nonsensical, but is actually full of wisdom, especially if you, like me, are finding yourself wishing away these frigid winter days and hoping spring and summer gets here fast. These days, I've found myself rushing from one thing to the next, frustrated at the smallest things, from post office lines to just missing my train. And I'm ready to make a change.

Van Dyck's stay in Italy was pivotal to the development of his artistic language, above all because it accelerated his emancipation from the model of his master Rubens.

Negative space is a formidable tool in design, underlining the philosophical power of absence. Many of our most powerful designs are celebrated for what they have, and also what they do not. Increasingly, a "more is more" approach is tied with maximalist design, with little attention paid to the nuances of creation. This does not necessarily have to be the case - we can ask of more from our interiors without sacrificing refinement and style.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

The veil covering Christ is extraordinary. It's impossible to understand how Sanmartino managed to create it. The veil defies explanation—for those who can see and for those who cannot. When you touch it, you can feel the veins pulsing beneath.

The collection comprises , , and sculptural elements developed through repetition, modularity, and consistency. By working with standardized components, the project examines how structural logic can inform form, allowing typically concealed systems to become spatial and perceptible. Designed by Claudio Larcher and Sofia D'Andrea, the collection is based on metal drywall guides, technical profiles usually embedded within partition walls and left unseen. These industrial elements are extracted from their conventional context and reconfigured into objects with a linear and uniform architectural language.

Set on the edge of the Mediterranean and shaped by centuries of continuous occupation, Naples is a city where architecture is inseparable from time. Layers of Greek foundations, Roman infrastructures, medieval churches, Baroque palaces, and Modern interventions coexist within a dense and compact urban fabric. Naples reveals itself as an accumulation of structures, adaptations, and reuse, where buildings are rarely isolated objects and more often part of a larger spatial, social, and historical system.

The Neptune of Lyon, one of the largest and most important bronze statues from Roman Gaul, has arrived in Rome for a one-time guest starring appearance at the Giovanni Barracco Museum of Ancient Sculpture. The statue is in the permanent collection of the Lugdunum Musee et Theatres Romains in Lyon, and is being loaned to the sculpture museum as part of an extraordinary exchange of ancient works between the two cities.

designed by the Institute for Doctoral Studies in the Visual Arts (IDSVA) and philosopher Giovanbattista Tusa (Visiting Faculty, Independent Study and Dissertation director) for curators, artists, researchers, and cultural practitioners seeking to engage with the living context of the Venice Biennale. Over four days, participants will move through a sequence of philosophical orientations - Rooting, Growing, Branching, and Cultivating Futures- that frame art as a mode of world-disclosure and situated intervention.

One of the aspects that most fascinated me was realizing how nature already provides ready and extremely evocative forms. A branch, a trunk, or a tangle of shrubs can spontaneously suggest figures, presences, animals, or movements.

levelled much of the city. Along with homes, churches and monuments, invaluable historical sources and documents were lost, including works by Messina's greatest son, Antonello da Messina, the artist widely credited with transforming the course of Renaissance art. In the space of half a minute, a city's memory and that of one of the greatest painters in history was buried alongside its people.

This year's theme, 'New Directions,' ties the fair to the legacy of John Coltrane and Miles Davis, treating jazz as a working method rather than a metaphor. It's a balance of structure and freedom, shaped by listening to galleries, to collectors, and to the wider moment we're living through. The move to the South Wing at Allianz MiCo reinforces this approach with a more compact, layered layout that sparks encounters across works, media, and generations,