Abundance as added value. Luxury of light flashing through pieces of research, the desire of more saturated milieus and of a new sumptuousness creating Nilufar Baroque. Magnificent mirrors and streaked marbles alternating with the glows of coloured glasses.
There is assonance and repetition in the play of reflections and in details, for example amongst flowers. A voluptuous density soars in Via della Spiga, with the typical, unpredictable matches conjured by Nina Yashar. A homage to the debut of international design, staged amongst velvet wings and author’s lights shining on Royére’s curved furniture, seats by Parisi and Vigorelli, mirrors by Fontana Arte, Bethan Laura Wood’s chandeliers and Gio Ponti’s writing-desks.
Up to the novelty of carbon fibre worked like a fabric to cover walls and ceilings with a tale of light, softness and hazard. Furthermore, with the stately shapes of Italian Nature recreated in Massimiliano Locatelli’s tables with precious marbles, lava stones, bronze and glass. Works of art dialoguing with the exclusive refinement of Roberto Giulio Rida’s unique furniture, made with materials no more produced.
Conceptual rooms are on the upper floor, in the open space articulated by wings and carpets – small sceneries by Nilufar school, lighted by the blown-glass cherries of light designed by Lindsey Adelman and climbing on the scenes. Copper, with its timeless beauty, and soft Alcantara cover the disciplined seats by David/Nicolas, in a milieu lighted by the religious light of Flavio Favelli’s lamps scorched by Salento sun.
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