#fondazione-querini-stampalia

#fondazione-querini-stampalia

The central nave of Sant'Agostino becomes the spine of the exhibition, as the designer divides the space using white, geometric volumes through freestanding architectural forms that visitors can move through.

The project reconsiders the building as a layered architectural structure shaped by successive transformations, reorganizing these historical strata through a spatial strategy that prioritizes clarity, continuity, and flexibility.

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.

We needed a visual identity that was uniquely Getty and distinct enough to unify how we show up globally. This system gives Getty one clear, ownable expression in support of the work we do around the world.

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.

"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.

The oil on canvas presents an unusual and dynamic composition of a serene Madonna alongside her energetic child with a reverent Saint John pressed up close in the painting's foreground.

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.

As cultural institutions continue to proliferate worldwide in this digital era, the museum itself appears increasingly in need of redefinition. Rather than offering a single model or solution, Architecture for Culture: Rethinking Museums, written by architectural historian and curator Béatrice Grenier, argues for a more contextual and plural understanding of what a museum can be: an institution shaped by its environment, its public, and the specific cultural questions it seeks to address.

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.

Pallabazzer recommends seeing the historic center of Florence at different times of the day. In the early morning, you'll get to experience it "without noise and the pressing pace of crowds." Midday brings droves of visitors, but the destination is "bathed in sunshine." In the evening, "the lights of the street lamps stretch out over the Lungarni [the streets along the Arno River], creating a truly magical effect."

Studio Rossettini revitalizes House LB into a contemporary single-family residence with playful spaces that puts functionality and quality of life at its center. The from the early 1960s in Padua, reimagines the existing structure through its renovation, freeing up the perimeter walls and creating a fluid sequence of spaces that flow between the kitchen, dining room, and living room, with furnishings integrated into architectural niches.

In 2025 the Prado, which is home to such masterpieces as Velazquez's Las Meninas and Hieronymus Bosch's The Garden of Earthly Delights, was visited by 3,513,402 people, an increase of more than 56,000 from the previous year. Visitor numbers have risen by more than 816,000 over the past decade. While some museum bosses would be toasting such a success, the Prado's director, Miguel Falomir, is treating it with caution. The Prado doesn't need a single visitor more, he told a press conference on Wednesday.

A signature view of Venice by Canaletto brought a strong price for the 18th century Italian master at Christie's on February 4, leading the Old Master week in New York. Hammering at $26 million, it sold for a total of $30.5 million including fees, just over its $30 million pre-sale estimate. Backed by a guarantee and irrevocable bid, it was sure to sell.

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,